Harry Styles aside, the solo careers of former members of televised singing competition groups rarely capture the public imagination. They usually follow predictable patterns – often a pursuit at a more edgy urban music style, complete with at least a track including a guest appearance by an US hip-hop artist, or a move into “grownup” mainstream-approved polished adult contemporary – and they typically become a dimly remembered placeholder, the visual and auditory experience of someone gamely killing time before the inevitable reunion tour.
This common scenario that makes the idiosyncratic path currently taken by Little Mix’s Jade Thirlwall surprisingly refreshing. She definitely participates in doing the kind of things that ex-reality TV group artists are known for undertaking, among them loudly underlining that she’s no longer subject the press-managed restrictions of the factory-produced music business – judging by the audience this evening, the most popular item on the merchandise stall is a handheld cooling device displaying the legend “TINA SAYS YOU’RE A CUNT”, a lyric from Gossip, her collaboration with electronic pair the group Confidence Man – but regardless, the songs she has chosen to create is pop of a noticeably more intriguing stripe than usual.
She launched her individual career with last year’s superb her debut single Angel Of My Dreams, a highly unusual, jarring and disjointed melange of big pop balladry, noisy synthesisers and samples from the classic track Puppet On A String by Sandie Shaw.
During the performance on her first solo tour proves, not everything on her debut album That’s Showbiz, Baby! is quite as interesting as her debut single: Before You Break My Heart is insanely catchy, but it's equally standard-issue disco pop, driven by exactly the Motown musical snippet its title suggests; things are padded out with a interpretation of Madonna’s Frozen that transforms into a musical compilation of nineties club anthems, from 808’s Pacific State to N-Trance’s Set You Free.
But there’s also more where Angel Of My Dreams came from. The song Headache combines an catchy refrain reminiscent of Abba with song sections that present a borderline atonal brand of funk or are surrounded with deep reverberation. She offers the track Unconditional to her mother: it features a wonderful tune, eighties-style electronic percussion, and crashing rock guitar combined with metallic pounding beats. IT Girl unexpectedly reanimates the sound of 2000s electronic punk movement, or rather the thrilling strain of millennium-era popular music that was strongly inspired by the electroclash genre, while Natural at Disaster begins like a piano ballad before unexpectedly swerving into a malevolent electronic grind.
The artist on stage is a immensely likable, delightfully authentic figure: she declares, she states at one point, “trembling uncontrollably”; giving a shoutout to her queer audience members, who are here in force, she suggests thanking them by including a branded jockstrap to the merchandise booth.
It could conclude the way such individual artistic pursuits end – the enmity towards ex-group member her previous colleague Jesy Nelson voiced within the song Natural at Disaster patched up, a media announcement to announce that the original group are back – but the reality that the entire audience appear knowing every lyric as they sing along to a record that was released just a few weeks prior makes you wonder. And even if it does, the final Angel Of My Dreams emphasizes that Thirlwall’s solo career is not destined to fade into the realms of the dimly remembered placeholder.
Jade plays the Manchester venue O2 Victoria Warehouse in Manchester tonight and is touring the UK until 23 October.
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