For example, during Faith’s moody track ‘Guilty’, the singer moved across the stage to tear down the white streamers that had been hanging in the previous song. I was taken aback by the theatrical nature of Faith’s set, from the synchronised gestures with her backing singers, to the shaping of the stage according to each number. The rising synth piano gave a powerful backing to her moving lyrics, particularly the chorus: ‘All the joy, all the chaos that life brings / I see in your eyes, those infinite things’. I had previously admired this number as a catchy pop tune, but it gained new significance when Faith explained to the audience that it was inspired by her two children. Her backing band appeared as ghostly shadows behind a gauze curtain, before the structure fell apart to reveal a dazzling stage, just in time for Faith’s second number, ‘Gold’.Īs Faith moved through many of the songs from her 2020-released album, she landed on the eponymous track ‘Infinite Things’. Faith opened her set with her high-spirited hit ‘Last Night On Earth’, accompanied with a post-pandemic message that ‘if we’ve learned anything from the last two years, it’s that this moment is all we have’. Her prominent vocals soared over the body of sound, and it felt that the backing was well-suited to complement – but not risk competing with – her powerful presence. Indeed, even with a 70s-clad backing band (including bass player, two electric guitars, drummer, synth keyboard and two fantastic backing singers), Faith was forever the star of the show. I was taken aback by the theatrical nature of Faith’s set ![]() When Salvar appeared later in the evening to duet a song that he had written for Faith, namely ‘If Loving You Was Easy’, this demonstrated his ability to handle dramatic numbers, although his vocals were unfortunately drowned out by Faith’s upper harmony. ‘Call On Me’ was a classic pop hit showing off the highs and lows of Salvar’s range, while ‘In The Afternoon’ was a feel-good love song with infectious positive energy. While the evening lacked some of the jazzy romance that I was so nostalgic for, it was a testament to Faith’s versatility.įaith’s support, Josef Salvar, set the mood for a groovy night of tunes, with his impressive vocals and 1975-style electric guitar backing. On Saturday night, I was greeted by a fresh, exciting Paloma Faith, sporting a punky pixie-cut and performing full-blooded poppy hits from her latest album, Infinite Things. ![]() I remembered Paloma Faith as the spectacular singer with long-flowing red hair, delivering ballads that I would fawn over as a hapless 12-year-old.
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