The Pop Corporation

It’s kind of annoying to refer to any musician by comparing them to someone else, but there’s this unavoidable thing with disco and dance music that makes you look at certain performers like they’re carrying the torch for the scene. Sure, there’s a lot of people who have employed house and whatnot into their music, but when you’re faced with someone who truly embodies it, it feels not only like an injection of life, but someone who is imbued by it.

And so, to the wonderful Roisin Murphy who has joined some kind of Disco Hall of Fame that’s already populated by the likes of Grace Jones, Sylvester, Patrick Cowley, Donna Summer, Kylie, Inner City and so many more. You can see the difference right? Sure, Beyonce went House for her last LP, but she’s not the same as Roisin, who has always shown love to the scene, especially in the leaner dance/disco years. She’s the real deal and, post Moloko, carried the flame for good pills and sunburnt shoulders when eyes were averted elsewhere.

Now, she’s getting her flowers and the love that’s passed back and forth from any stage she takes to is palpable.

On the back of a new (and totally great) LP on Ninja Tune, Murphy has seen a much deserved renaissance, loved equally by people on the scene just as much as anyone who just loves a great pop record. The fact that she’s doing it on her own terms is a huge advantage for all involved too, as she took to the outdoor stage in central Dublin in a host of glorious outfits and shapes, and gave as much soul as she provided the doof doofs for anyone who managed to sneak a couple of bags in.

The weather was good, but Roisin was better and the audience could not have loved her more. A blanket of bobbing heads, arms aloft and clicking fingers, Murphy started her show with her customary entrance filmed from backstage with her band walking in tow. Soon enough, ‘Murphy’s Law’, ‘Let Me Know’, ‘Something More’, ‘CooCool’, ‘Incapable’ and more had everyone singingalong with everyone’s favourite Eccentric Disco Auntie (there’s no higher praise, truly – if anyone was going to lend you a cig at Pikes Hotel, it’s our Roisin).

Of course, there was time for some big hitters from her previous outfit Moloko, and ‘Sing It Back’ provided a lovely to-and-fro from crowd to stage, with initially a song bent intentionally out of shape for the show, before dropping into that familiar Boris Dlugosch bouncer that shook so many dancefloors before. A glorious moment, that Roisin Murphy looked genuinely grateful for.

That there, is part of Roisin’s magic isn’t it? She’s out-of-this-world, but she’s so one of us too. Relatable, but utterly iconic. Look at the ‘Overpowered’ album sleeve where she’s in unique, high fashion shit, but sat in a greasy spoon – that is what we love about her. So

So while she wrestles a silver humanoid figure, sports a PSB-esque conical hat, flapper dances and leans into the audience like she’s a million bucks, it all feels so right because, if we were in her position, we’d all hope to be that flamboyant and make such interesting decisions. It’s wonderful to see someone switch between genuine elegance and sheer hoofing it around the stage like a woman possessed.

And because Roisin is such a head, we’re not being subjected to a lame facsimile of dance, because all the influences are there in the hot pot – disco and house obviously, but also jazz, ’80s boogie, techno, Balearic, soul, art-pop, and Kosmiche Musik – she’s a real force of nature and by god, it’s great to see her getting her dues. It’s all part of the appeal.

If she’s indebted to acid house, then we should thank her for putting the acid back into it. Cherish her. She’s worth every ounce of love you have. A magnificent show and there’s more to come.