Owen Pallett

Dear reader, a confession: my name is Emily Carmichael and I’m an Owen Pallett-aholic. I know this, because unlike any other act I’ve seen, I’ve lost count of how many times I’ve paid money to watch the violin virtuoso from Canada who still occasionally plays with old mates Arcade Fire (though it’s been a bit of a Sophie’s Choice to decide who wins between the two live, for yours truly). However, as much as it’s a joy every time to see him play, there’s certainly one occasion that stands (red)head and shoulders above the rest. Union Chapel, London’s Islington, 2010 - everything sounds better at Union Chapel, doesn’t it? Though if you happened to be Mr Pallett that particular night, that’s something of an understatement.
Yes, there were his trademarks: the loop pedal which creates his intricate, layered compositions; the sweetly childlike projection art which used to accompany them (sadly he has since dispensed with their contribution, for reasons unknown). So far for Owen, so ordinary - or extraordinary, in his case. Yet this time around, the entire set seemed to be infused with the kind of magic that any regular gig goer occasionally sparks fizzing emotion and excitement within their seen-it-all-before selves. The songs soared. His voice - feminine, imperfect and utterly his own - had finally seemed to find itself. There was not one bad performance that night, not one. And when he played what you could tentatively call his ‘hits’ (from life-affirming meditation on death, "The CN Tower Belongs to the Dead" to his witty, exuberant love letter to aforementioned Arcade Fire pals entitled "This is the Dream of Win and Regine"), there were unabashed tears from this fan - and, I’m certain, from others in the room.

It may sound a slight cliche but I truly believe the live performance of Owen Pallett is unlike anybody else on the circuit. The Canadian vocalist and multi-instrumentalist seems at a crossroads when deciding which musical discipline to focus on so he simply picks both. Not only is he a well trained and versatile vocalist, he has incredible skill with his trusty violin.

His show is a whole array of light and dark in order to compliment Owen's thoughtful discography. He creates real moments as his tracks submerge into lengthy violin instrumentals and an array of lasers illuminate him from behind. It is a beautiful sight soundtracked by equally beautiful music. 'The Riverbed' is perhaps the highlight of his original material but a personal favourite of the night was a brilliant cover of 'Odessa' by fellow Canadian Caribou. Pallett slowed down the synth and replaced all the exterior sounds with his wonderful strings, a truly momentous moment.

The most unique music artist of the last decade. The blending of his voice with the instruments is just divine. I particularly like songs like: The Great Elsewhere, In Conflict and A Man With No Ankles. Can't wait to see Owen live.