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Live MusicYou are in: London > Entertainment > Music > Live Music > Siouxsie  Siouxsie (George Chin/Retna Pictures) Siouxsie5 November, the Roundhouse Sparks fly on Fireworks night as Bromley's dark priestess lives up to her iconic image. Goth dreams are made of this, says our reviewer Kerstin Twachtmann. Plus, read YOUR comments below... Camden's Roundhouse is tonight host to a nostalgic crowd of middle-aged Goths standing shoulder to shoulder with the odd gang of teenage indie kids. From high up in the balcony, the scene is awash with floor-length leather coats, melodramatic face paint and rubber platform boots. Dads have brought along their sons. A white-haired man in an AC/DC T-shirt tuts as we shuffle past him to find our seats. Siouxsie's recent album Mantaray wasn't technically a comeback. Amazingly, it marks her first solo effort after a career of thirty years with the Banshees. She's even dropped the 'Sioux' from her name. You can't be an icon of this stature without having to compete with your own legacy, and the list of musical icons that have gone solo and ended up disappointing even their own fans, is endless. This, after all, is the frontwoman who set the benchmark for all frontwomen in music. iconic imageThe former Susan Ballion helped to invent Goth both as a look and as a genre, and was at the forefront of punk - Siouxsie and the Banshees' very first gig at the 100 Club featured a then unknown Sid Vicious on drums.
This Roundhouse show marks the final date of her Mantaray And More tour. "God they've packed you in here tight. There's no room to dance!" says Siouxsie, surveying the sold-out venue critically. She opens with three numbers from Mantaray which are met with a slightly subdued response. Arabian Knights and Spellbound, both from the Banshees' 1981 album Juju, quickly follow. It's at this point that Siouxsie, dressed in a metallic catsuit and kicking her heels in the air, becomes every inch her iconic image. The 50-year-old is cannily avoiding the music veteran's pitfall of trying to claw her way into 2007. More often than not, attempting to play the kids at their own game is the musical equivalent of your mum doing the funky chicken at your 18th birthday party. dancing beamsInstead, Siouxsie pulls her audience back into the experimentalism of the nascent 1980s. Even her new material is swathed in nostalgia. Synths are a heavy presence and the stage is lit by dancing beams of neon blue light.  Siouxsie: every inch her iconic image Highlights include Into A Swan, the electro-tinged lead single from Mantaray, and the achingly cool and equally haunting Nightshift (another cut from Juju). It's a dark, theatrical show which is memorable as much for its subtleties - like the use of chimes and a cello - as it is for Siouxsie's mesmerising stage presence. A patchy encore sees her outstay her welcome after an obviously climactic Hong Kong Garden, with a pared-down cover of The Doors' Hello I Love You. It's an odd note to go out on after so many glaring omissions from her own back catalogue, and it tarnishes an otherwise captivating performance. RELATED LINKS:
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