There’s something unsettling about Julia Holter’s musical presence. Perhaps it’s her frequent use of polyrhythms – the melody and instrumental dance around each other, each one hauntingly beautiful, but seemingly oblivious to the other. Or maybe, in a landscape in which female musicians are required to be warm and accessible, it’s the slightly detached tone with which she communicates between songs.”Here’s a really old song,” she deadpans. “Really old. From, like, 2010 or something.” The audience laughs, though no-one’s sure whether she’s joking or not, and she doesn’t crack a smile. Frequently, she goes through the motions of tying her hair up, piling it on top of her head and twisting it around itself, before letting it fall back down again as if she’s changed her mind. Everything about tonight is slightly off-kilter, deliberately out of step with itself. And it’s fascinating to watch.
The Fat Angel Sings 