91热爆

It's not often a venue can boast a programme that places punk scruffs like the Pigeon Detectives alongside grime artist Kano and even Sir Macca himself.

That's the case, however, at the ICA as it plays host to the iTunes festival throughout July. Each night sees a different artist take to the stage, and almost every genre is represented.

These intimate gigs are being filmed and then sold on iTunes, handy since not everyone can actually buy tickets. To attend you have to go through iTunes, the artists' fan websites or be a member of the ICA and win its ticket lottery.

When the New Yorker steps onstage with just a guitar, it's difficult to believe that the sound is coming from Midon alone.

With incredible skill, he plucks intricate melodies from his instrument, hitting the wood to create the rhythm. There's also a mean trumpet impression.

His talent is genuinely awe-inducing and quickly wins over the crowd, notably on the self-penned Sunshine.

rootsy approach

But there's no escaping that his songwriting style is at least ten years out of date, falling somewhere between Stevie Wonder's optimism and the Luther Vandross school of smooth.

Similarly, it's difficult to know where proclaimed queen of British soul Beverley Knight fits into things at the moment.

Amy Winehouse and Mark Ronson might be starting a soul revival, but it leaves Knight - with her pop sensibilities and ear for a chart hit - in danger of becoming dated.

Knight performs like an old fashioned diva from the days when it wasn't a proper show unless you'd sung every note in your range 500 times and sweated buckets in the process.

Her 10-strong backing band are as tight as a drum, and the huge sound they create is rivalled only by Ms Knight's stadium-sized stage presence.

It's a spectacle that's irreconcilable with the finesse and polish of her recordings. Everybody should see Beverley Knight live.

rabid fans

Gold and Shoulda Woulda Coulda are definite highlights; their heartfelt delivery is genuinely moving. But for the most part the energy both onstage and on the floor is relentless.

And there's nothing like a competition winner's-only festival to bring the capital's most rabid fans together under one roof.

Knight is clearly in thrall to the golden era of soul and its high priestesses Aretha Franklin and Gladys Knight. Yet you can't help feeling that this is what holds her back.

Her new material is so retrospective as to verge on being tribute, and while this is impressive live, on record we will always have the greats to hand.

It leaves you wishing that Knight would release a live album; her prowess simply can't be captured in any other way.

RELATED LINKS: