Music Blogs

Poor Natalie Imbruglia. Tonight was originally scheduled to be a showcase launch for her fourth album, an opportunity to show off her shiny new collaborations with Chris Martin and convince London that there's more to her than one 12-year-old global megahit. Unfortunately, for obscure reasons that smack of record label machinations or commercial panic, the album has been delayed by at least four months, and what was meant to be a triumphant reunion of artist and audience feels more like we've all bumped into each other in the street at a bad time, awkwardly unsure of what to do.

To her credit, Imbruglia does her best to bully through any embarrassment, and to ignore how much her fanbase seems to have shrunk in the last decade. She looks dazzling in a glittering, magpie's dream of a dress, and radiates enthusiasm (if not charisma) throughout. And by playing a set that draws heavily from the delayed album, she illustrates her own confidence in the new material, at least.

Artistically, she may be right. The first single, "Want", is sleek, dramatic and darkly sexy, and far more daring than hoary older numbers like "Sanctuary", which tonight sounds like a bad Sheryl Crowe b-side. Of the other Chris Martin collaborations, the acoustic "Lukas" is likeable but meandering, while "Fun" is slight but lovely, Imbruglia's reedily dreamy voice riding keening Edge-like guitar chords. Even better is "My God", a breathless electro stomper with squalling guitars and heart-attack-pace, which is smeared with Depeche Mode producer Ben Hillier's fingerprints.

Commercially, however, Imbruglia may be on less certain ground. Intriguing and unusual as these songs are, on first listen they don't boast the kind of killer choruses which have graced her handful of truly great pop songs and granted her a far longer and more interesting career than rivals like Holly Valance. A fact underscored when she does play those songs tonight, like the sultry, moody "Shiver", or the gorgeous "Wrong Impression", with its deft key changes, caressing guitars and honeyed melody. Both are lost pop classics, and sound fresher and sweeter tonight than the overplayed, ubiquitous "Torn".

Like her countryman and fellow "Neighbours" refugee, Kylie, Natalie Imbruglia has already confounded expectations several times in her career. Tonight's surprisingly enjoyable performance may not have proven she will do it again, but it makes you hope she might.

by Jaime Gill