Self Esteem - Cambridge Corn Exchange - 13.3.23
Since releasing "Prioritise Pleasure" in 2021 to huge acclaim and various award nominations, Self Esteem have been going from strength to strength with appearances on talk shows and festivals enhancing her growing reputation as a crucial voice in the music industry. This, the "I Tour This All The Time" tour had to have a clutch of new dates added due to the clamour for tickets. Her appearance in Cambridge tonight is a rearranged date from its original late-February slot due to a bout of the vomplops. I'm sure the front row hope she has fully recovered...
Tom Rasmussen
Arriving in a huge golden raincoat to scattered whoops from the crowd, Tom Rasmussen takes their place alone on stage. From then on, it's party time. When they are not doing the sing-a-lings, Tom contributes to Vogue magazine, and the scandalous amount of voguing on display during their set definitely deserves some kind of endurance award. Despite being completely on their own, Tom's presence fills the stage and they are an incessant ball of energy.
The only time the wiggling is reigned in is while they are bathed in a soft spotlight for "This is How We Walk on The Moon". More whoops are lent to a tee reveal announcing solidarity with striking workers. Harnessing the iconic Korg M1 synthesizer sound from the 90s for songs like "Dysphoria", Tom's confidence, positivity and charm really carry the performance. By the time they are demanding that the audience "fucking look at me" they already have them held in rapt attention; even the balconies are bopping. A sultry wink finishes their set and they are off.
Campbell King
In contrast to the previous act's exuberance, Campbell King timidly takes the scenic route to their starting place. The opening of their set showcases the range of influences from which they are drawing; from Kae Tempest-inspired spoken word pieces to the synthwave-tinged bump of "Babe" - the title of which was decided on an audience vote. With only an EP released so far, Campbell is only just taking steps into live performing on this scale, and supporting Self Esteem is a massive step. While there are visible nerves, not helped by guitar issues early in their set, Campbell grows in confidence and seems much more content when their band join, complete with a guitarist who they just met "yesterday". The guitar gremlins decide to deliver a retaliatory riposte as the new-found guitarist pulls his cable out of the amp while soloing. Despite the technical issues and lyrics struggling to be heard while the band were playing, Campbell is clearly someone who is willing to share their scars through their art and this stark honesty will resonate with many.
Self Esteem
Fervent cheers welcome Self Esteem to the stage as she descends a marbled staircase. Dressed in grey power suits, the angular electronica of 'Prioritise Pleasure' thunders off the Corn Exchange's Grade II listed lofty walls. The group slip seamlessly into the clipped drums of'Fucking Wizardry' followed by the bouncy bass of 'Moody' - it’s a hell of a starting triplet. Clinical choreography compliments the lyrical barbs that are being liberally dished out. Any lingering effects of Rebecca's illness aren't evident; vocal harmonies ring out and her delivery often hits harder than those committed to tape. Whether spat ("I don't know shit"), snarled ("to even get near to me") or sermonised ("all the days that you get are big") her voice is used to great effect; conveying a message with supreme self-assurance. As a role model for empowerment and independence, she stands tall and the crowd respond to every move that is made. The dancer's grey suits are swapped for something that might be seen an nsfw superhero Reddit thread, and Rebecca re-emerges sporting a cowboy hat and latex bodice, joining in with the tub-thumping beats of "How Can I Help You?". The group eschew the conventions of beauty by smearing their make-up as they slide into "Girl Crush".
Throughout the set it is visible that the chemistry between the performers is strong; they exchange smiles, knowing looks and, when RLT misses the beat on "You Forever", laugh off mistakes. Crowd screams are exaggeratedly embraced and the encore mocked with a MASSIVE WINKY FACE. It is so pleasing to see the overwhelming thread of fun running through the performance. She has said that daftness is fundamental to her code of ethics, and the levity present here juxtaposes the often serious subject matter in a way that emboldens it rather than diminishes it. The supporting cast are given a spell in the limelight before we are given an understated solo performance of "John Elton". This sombre moment carried into the introspective ballad 'The 345' balances the set nicely and leads us towards the COMPLETELY UNEXPECTED ENCORE. Another excellent triplet of 'I'm Fine', 'The Best' and 'Still Reigning' finish the set before we are funnelled out of the venue to a disco backing track.