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Kate McGill

30/06/2010

Clwb Ifor Bach, Cardiff, Sunday, June 27
The Carmarthen-born singing starlet “resembles Ellie Goulding”, but is it a good thing?

Up and coming singer songwriter Kate McGill is quickly developing the knack for transfixing her audiences into utter silence when she lets her voice reach its emotive best. Tonight’s set includes a gentle mix of piano and acoustic guitar throughout, while all the songs in the set are written by her barring a gentle and melodic cover of ‘Kids’ by MGMT.
The most impressive aspect of this performance throughout, however, is her beautifully soft voice, which is pitch-perfect for the entire evening.

The Carmarthen-born singer just turned 20 in March, and there’s a refreshing sense of honesty and individuality to the lyrics she sings. Between song banter includes wordy introductions to the motives behind each work – the usual relationship woes and life complications feature heavily – while McGill admits that “50 per cent” of her songs are “written about ‘the ex’”. He has a lot to answer for, then.
Despite the downbeat nature of some of her music, the gig is far from being a somber affair. McGill keeps the mood light and humorous, telling the expectant audience a wry story about how she acquired her trusty keyboard. She peppers the set with jokes every time she makes a mistake.

There’s an appealing vulnerability to how she holds herself on stage. There’s an openness and honesty with her fans that’s lacking in other artists her age. The sense is she’s really making the effort to create a shared experience for fans and musicians alike.
Kate McGill can definitely join the ranks of “next big female artist” in British pop on tonight’s evidence. It’s a crowded rostrum up there already, but her folk-inspired music already invites comparisons with this year’s favourite Ellie Goulding. Yet McGill’s songs completely reflect her own individuality and personality; her songs are all in one style vein but are far from being samey. Her voice alone remains a captivating instrument throughout.

By Harriet Davies

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