It is perhaps not her main instrument, but that Kelly Lee Owens her voice was lost, and had played her tricks. Especially in the first part of her set fell the lack of vocals on. Owens tried to sing, even several times, but more than what squeaks these attempts. Extensive apologies followed and the public was invited to the vocal lines, but to take over.
Now we find ‘Lucid’ are certainly a wonderful dreamy track, which we at home like to impose during the aperitif on a summer evening. But ‘m now fully ready to sing along? Nay, so far does our knowledge of Owens’ oeuvre, unfortunately not.
The same is true for Owens cover of ‘More than a woman”, a song by the much too early deceased r&b singer Aaliyah. Beautiful song, just what is less well known than Aaliyahs big hit ‘Try again’, but do us yet, but the eponymous song by the Bee Gees. If there is an expectation that we sing, we mean.
As tight as her black leggings
Happy threw Owens somewhere halfway through the set, the helm resolutely. No singing, there was still need for its fine technobeats to brighten. That sounded as tight as the black leggings she wore and Owens reeg them together with the dexterity of a ijsdanseres. Between the graceful fiddling of buttons by mound, they like a mad man on her regular drumpads, and even this she did in an elegant way. (If they are still there double axel had jumped, we wouldn’t be surprised of looking up.)
Around us we saw people enjoying and gently dance on the artistic sound beats of Kelly Lee Owens. And portrayed, we are now in, or was this previously a dertigplus – a twintigerspubliek? It was, in any case, techno for all those who are not feel at home in the Boiler Room.