![]() And according to Alex Kapranos, the lead singer of Franz Ferdinand, himself, the lyrics allude to the idea of he and the addressee being caught up in a “tense”relationship. Or let’s put it this way – the guy and the girl like each other alright. But neither have the heart – so to speak – to approach the other. So many fans have understood the setting of this song to be something tantamount to a nightclub. And basically, the singer is challenging – or perhaps more specifically wishing for – the addressee to approach him, as in initiate a conversation leading to the prospect of a romantic relationship. So in the first verse, we can see that the singer states something like his romantic interest has him in “a crosshair”. Indeed he is “just a shot away from” her. And that’s where the various interpretations begin. But in this case, Franz Ferdinand is applying such to a romantic relationship. A voice shouts out from the dark – “23!” to which Iqbal responds, “That’s right, find me at the end of the show, we need to talk about Keats.” Bursting with dreamy, mellow tones, Closer Lover's lyrics of longing bring the song, and show, to a melodious and crescendoing end.For instance the title, “take me out”, is based on euphemism for, succinctly put, shooting someone dead. In other words, sometimes when a person is murdered via gunshot, it is common for people to say he’s been ‘taken out’. She asks the crowd if anyone knows what age he died. Iqbal begins playing Lilac Twilight before bringing the heartfelt performance to an end with Closer Lover, which she explains was inspired by poet John Keats. We all bellow with laughter and scan the room for a hand. “Has anyone here met Limmy? You must see him strolling around,” she asks, confessing that she’s a big fan of the Scottish comedian and watched all his skits on the drive up to Glasgow. The crowd are joyfully basking in it all and pleasingly applaud and woop at the end of each song. Iqbal draws the crowd back in with chatter and candour, showing she’s well-versed in Scottish culture. It’s a concoction of guitar melodies, accompanied by airy drums, constructing an electro-pop beat brought together by raw lyrics. Zone 1 to 6000 is a throwback from her debut album, Weighing of the Heart, an ode to London. The music blends with her voice producing a dreamy-pop melody that is consistent in the album. Afterwards, she introduces Sunflower, explaining it was inspired by “artists who make amazing art and die too young.” The guitar strums gently propelling her rich voice, the drums eventually bringing the song to its peak, erupting with melancholy. The spoken word monologue makes you feel genuinely connected to Iqbal’s bittersweet sentiments, reminiscing on the past and despondent of the present. ![]() She floats effortlessly into This World Couldn’t See Us, jolting the crowd into varied movements of trance and dance. ![]() Her conversational banter forges a sense of intimacy that feels intrinsic to Iqbal’s character and her music. She jokingly admits she had developed a slight fear of them having read a horror book involving sheep just before the trip. It’s evident it’s a genuine delight for her as much as it is for the crowd.īetween songs she converses, generously recounting the origins of her second album at a residency at Cove Park in Scotland, grateful for the scenic landscape but abundantly aware she was mostly alone other than sheep. The night already feels special, partially on account that it’s the first stop on her UK tour but also because it’s her first-ever performance in Glasgow. Similarly to the track, the crowd's bodily reaction is imprecise, some embody the pulsating sounds while others sway pensively to Iqbal’s unassuming voice. The London-born producer and DJ immediately captivates us with the synths of Dreamer, the second track on her new album of the same name. After some passionate melodies to draw the crowd in, Nabihah Iqbal takes the stage.
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