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Sharon Van Etten review: Every song sounded like the recording

PUBLISHED: 12:07 02 July 2019 | UPDATED: 12:07 02 July 2019

Sharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross Halls

Sharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross Halls

Ross Halls

Sharon Van Etten never fails to deliver in making me feel a vast range of emotions, whether i'm listening to her on record or seeing her live, the last time being in 2014 at Koko.

Sharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross HallsSharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross Halls

I went along to her show at The Waterfront, fresh off the heels of her Glastonbury set on Saturday, and with a new album in tow. As soon as she and her band walked on I felt instantly captivated.

Sharon Van Etten (SVE) has huge stage presence and is constantly connecting with the audience. At one point, as I was filming my favourite song Love More, she looked right into my camera and winked.

She opened with her new, massive sounding song Jupiter 4 which was a firm favourite with the crowd judging by the rapture of applause that followed. This led into One Day, from her album Epic, which she then followed with another oldie, All I Can, before smashing out Malibu and You Shadow from her new album.

Her band were tight and every song sounded like the recording - something very important to me when seeing a band live!

Sharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross HallsSharon Van Etten headlining The LCR UEA in Norwich. Photo: Ross Halls

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Heather Woods Broderick deserves a special mention as her beautiful harmonies entwined into almost every song providing the perfect backing to SVE's, at times, almost operatic vocals.

Her new album Remind Me Tomorrow is much more synth-driven than anything else she has previously done. This is most apparent in Comeback Kid and the album's title track which were both met with massive positivity from the audience.

The band all left the stage at one point and SVE sat at her keyboard alone. I had watched her Glastonbury set so I knew what was coming, but seeing it live was another thing all together.

Still as relevant as it was 29 years ago, she covered Sinead O'Connor's Black Boys on Mopeds. Poignant, sad and beautiful, the audience were left noticeably affected by the lyrics and unfortunate pertinence of the song so many years on. We didn't have much time to recover before she went straight into Seventeen, my favourite track from her new album.

Sharon Van Etten was considering quitting music to raise her son whilst pursuing acting and studying for her Psychology degree - I'm pleased she didn't.

- For more Norwich music check out our dedicated page every Thursday in the Eastern Daily Press and Norwich Evening News or follow Enjoy Music More on Twitter and Instagram

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