I have to be honest, Sunday the 11^th was the day I was least looking forward to at the Summer Series. N-Dubz were headlining, and although I can appreciate their musical capability, they’re just not my style of music. I really thought I would stick out like a sore thumb amongst the crowd, and it would be a long, long night. I was expecting to struggle with this write up as well, as I simply couldn’t see it being a night I would enjoy… but I’m pleased to say I was in store for my second surprise of the Summer Series. Credit where credits due – what Villagers did was amazing, but the night N-Dubz delivered was on a whole other level…

I was pleasantly surprised by the crowd the gig had drawn in – it really was the most eclectic I think I’ve ever seen. The age range went from around 6 years old all the way up to people in their fifties – there were parents with their kids, teenagers on their own, and grownups who, on the surface, you would never think were N-Dubz fans. The diversity in style of the people there was huge, from indie kids to trendier Label junkies – every type of person you can imagine was at this gig. The buzz in the courtyard crept higher as the anticipation for the headliners grew – after all three support acts had finished and backstage crew members had bought three towels out to the front of the stage, the crowd could barely hold their excitement in. The lights on the stage dimmed, and opera style music played over the speakers, while the screen at the back of the stage played a video, of a how-N-Dubz-got-this-far sort of story, with footage from their very early careers to newer music videos. A guitarist marched on stage, holding his instrument like a soldier, weapon at the ready. We see more live footage, as well as some photos and videos from their private lives. The opera turns into hip hop, and as the bass rumbled through my chest a sea of camera screens popped up in front of me – we knew who was entering next…

After the turntablist took up his designated position, neon-clad backing dancers had entered and the stage lit up purple, we heard Dappy over the speakers rap Against All Odds, before the intro to I Need You started up and Tulisa, Fazer and Dappy strutted onto the stage. Tulisa looked stunning with her newly-brunette hair and a pink skin tight mini dress, and Fazer looked composed as ever, and Dappy, well, he had the energy of a seven year old with ADHD after downing a bag of Rainbow Sherbert, and that intense electricity transferred into every member of the audience, including the mums and dads.

N-Dubz

After I Need You, someone from All Around the World Records, the label N-Dubz are signed to, came onto the stage to present each member with a plaque to celebrate becoming triple platinum selling artists, and the excitement from not only the band but the entire audience was superlative. As they are told they have officially sold more than 3 million albums, Fazer jokes that Dappy can fit behind the frame, and Dappy obliges, before holding it up and saying “Hey Mum, that’s for you”. You can’t say the band aren’t excellently trained in ways to market themselves, as Tulisa smiles at the audience and excitedly says “Hey guys, photo opportunity!” and the three pose for a couple of minutes, while the flashes from phones and compact cameras in the audience light up the stage – it’s probably the quietest moment of the night while everyone focuses on what is bound to be their next facebook upload.

N-Dubz

Tulisa really shows off her talented vocal range as the trio sit back on the sofa at the back of the stage, and perform their Radio One Live Lounge cover of The Script – The Man Who Can’t Be Moved. When they perform a classic, Strong Again, I’m truly dumbstruck by the result of asking the audience to sing along. Now, normally when any band asks a crowd to do this, the sound is a somewhat muddle of noise, roughly to the tune of the song, maybe with the odd audible word, usually only from your nearest neighbour, or yourself. But not the N-Dubz fans, when they sang the clarity was unparalleled, you could hear every single word the crowd were singing, it almost felt rehearsed, and they sang so loud I could hear them being picked up on the mic’s and coming back out through the speakers – unbelievable. Even Dappy, Fazer and Tulisa looked pleasantly surprised by the effort. It felt like we were at Wembley, not Somerset House.

The three bow, before heading off stage as the set is changed, while the guitarist performs an awesome guitar solo – there’s certainly something for everybody at an N-Dubz gig. After the sofa had been replaced by the bed, and two backing dancers climb inside I begin to guess what the next song will be. The drummer and their guitarist finish their incredible collaboration, and N-Dubz return to sing Ouch, and in true performance style Tulisa is greeted by the girl from the bed during the line “name’s Shaniqua and what?!” – some may find it cheesy, but I found it positively endearing. The crowd lapped it up as well, while Tulisa, Dappy and Fazer have a pillow fight on stage. After the song, Dappy takes off his “ears”, and says he can finally hear us for the first time – and we sound incredible.  Halfway through the set, he reiterates the fact that they don’t mime, and asks “So how do we sound, are we **** live or are we good live?” the cheer tells him yes, however I can’t help but wonder whether this is another one of their JLS jibes, and if that’s not the case, why he felt the need to make sure we know they’re not miming?

After another outfit change, this times seeing the boys and the backing dancers change into soldier uniforms, while Tulisa wears black leather hot pants and a gold corset, while they dance-march through We Dance On. With guest appearances from Skepta and Fearless, they perform Number One, and the crowd go absolutely insane, with every single hand up in the air flicking side to side, in true Tulisa style. She then dubs the fans “N-dublets” and gives a speech sending her love to all her family and friends. There is more word perfect singing from the crowd along to Playing With Fire and Papa Can You Hear Me? – during which a touching montage of photographs of the man in question are displayed on the screen.  Dappy gives his hat to a security guard, and points out the fan he wants it to go to, another nice touch for one lucky fan. But unfortunately, with that, the band take a bow and the show is over – without an encore, or any real sense of a crescendo. But considering the night as a whole, I think I’ll let them off.

N-Dubz

I wouldn’t say I’m an N-Dubz convert, and I doubt I’d go and buy an album, but I certainly wouldn’t miss another chance to review them live.

On Monday the 12^th, Somerset House welcomed Australians, The Temper Trap into it’s warming courtyard. The crowd was older than the previous nights, hitting the 25-35 age range, but the excitement is still there. The bass rumbled through the speakers, and the band appeared on stage – no fancy visuals or outfits, just four men and their instruments. The opening track begins with heavy guitars and drums, but no one in the audience seems to recognise Rest, but at least the band are heavily into it, rocking around the stage like it’s the first time they’ve ever played a gig of this size. The strength in Dougy Mandagi’s voice is unreal, and the crowd lap it up, despite a few blank reactions to the opening song. The front man compliments our “sexy faces” and the room begins to bounce as Fader starts, really showing off Dougy’s voice. The crowd, in comparison, aren’t as hyped up as the younger crowd of the previous night, only vaguely clapping half-heartedly along to Fools. Dougy jokes, “Somerset House, still here?” before embarking on a new number, Rabbit Hole, which presents itself as a refreshing acoustic number with a heavy heart beat of a drum line, with the vocals ranging from Mandagi’s signature high pitched lullaby vocals, to an edgier, lower growl as the song leads into electric guitars and heavy bass. It struck me as an epic song to cry to, as odd as that may sound.  After this grand new number, Down River presented a more positive happier switch in sound, which seemed to invigorate the crowd a lot more. The backing singers provided a beautiful orchestral sound, and the lighting effects reminded me of stars patterned across their faces, particularly as they played Love Lost. Soldier Song created an excited reaction from the crowd, as they soaked up every note and every word.

Temper Trap

During a drum-heavy instrumental, Dougy beats along with a cymbal and a floor tom drum, getting steadily more passionate, as the guitarist provides us with a faster solo, the crowd going crazy for it the whole time while Dougy pours a bottle of water over the drum, beating it so heart diamonds of water droplets fly up into the air and cover his head, creating an incredible visual effect, and riling the crowd up in a way no flimsy indie riff ever could. After this, the band leave us, and a standard slow clap from the audience beckoned them back. They graciously thanked us, and promoted the charity they support, Buzz Off, encouraging us to buy postcards from the merchandise stands at a pay-what-you-feel charge to support research into Malaria – “Do your part for the world”. Unfortunately, due to a technical hitch, Dougy seemed blissfully unaware that his microphone wasn’t working for half of the penultimate song, but how could we hold that against him when he finally performed for us a heroic and awe-inspiring version of Sweet Disposition? The bright backlighting almost makes the band look heavenly, and as the amazing crescendo completely blew away the appreciative and happy crowd, I sort of felt they were a bit.

For me, the band provided a wonderful, refreshing change from the samey music that appears to be kicking around nowadays. They feel more authentic, and particularly their live show reminded me of the organic rock bands of yesteryear, before the indie and the emo takeover. The fusion of a more traditional rock-esque instrumentals with Mandagi’s voice presents a delicious, unmistakable  sound.

Written by  Bee Pahnke, Photography © Mike McAdam