The Japanese House feels born for this stage of her career.
Words: Jamie Muir.
Photos: Patrick Gunning.
Since those early days of mysterious buzz and word-of-mouth gigs where cramming in the back of the room would be lucky, Amber Bain has cut through the noise. Firmly planting herself at the heart of something truly unique, there’s a steadfast dedication to turning everyday emotion into glorious alternative pop that jumps between the dreamy and direct. With ‘In The End It Always Does’, The Japanese House has a stall to take on the world, and judging by the sold-out confines of HERE at Outernet tonight in the heart of London, one thing is clear: The Japanese House is incomparable.
With the freedom to delve across a rich catalogue, there’s a sense of letting loose. It’s panoramic in ambition and cult classic in emotional connection. ‘Sad To Breathe’ and the electric pop hooks of ‘Touching Myself’ set the course for an evening of grandstand moments and gut-punching rawness. A set doused in sprinkles of magic, the likes of ‘Follow My Girl’, ‘Saw You In A Dream’, ‘You Seemed So Happy’ and ‘Maybe You’re The Reason’ perfectly mix with ‘Morning Pages’, ‘Friends’, ‘Over There’ and ‘Baby goes again’ for a set that sees Amber thrives; The Japanese House feels born for this stage of her career.
Whether it’s ‘Something Has To Change’ punching to new levels or the swirling embrace from ‘Boyhood’, tonight at her biggest headline show to date, The Japanese House affirms a refreshing new chapter. ‘Worms’ effortlessly bubbles into a gripping ‘Chewing Cotton Wool’ and surging ‘Dionne’ before a defining moment comes in the encore. Stepping out behind the keys for ‘one for sorrow, two for Joni Jones’ as the spotlight shines across the room, it’s a goosebump-inducing moment for an artist reaching jaw-dropping heights.
As ‘Sunshine Baby’ rings out, one statement remains defiant: comparisons are impossible when it comes to The Japanese House.
