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Camille is more exciting than eccentric
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20 October 2008
Camille Dalmais is barking. "Woof, woof," she barks in English. "Ouah ouah," she barks in French. A packed crowd erupt into a cacophony of animal sounds, mooing and meowing their way through another Camille song (Cats and Dogs) as clever as it is nonsensical. As, indeed, is much of her oeuvre.
The Parisienne popstrel has reinvented a capella with her innovative vocal effects and body percussion and created unconventional tunes with ridiculously catchy melodies. Whether singing about love and pain or tea and home, whether singing in English or French or shrieking, shuddering and panting, Camille is — quite simply — a phenomenon.
There are those for whom her precocious talent is a little too, well, precocious. Who are put off by the fact that her acclaimed 2005 album Le Fil based its tracks around the same single droning note, and that this year’s Music Hole includes such lines as "I didn’t get it from the Lord, but I got it".
The thing is, she has: accompanied by beat-boxers, body percussionists, backing singers and a female pianist in thigh boots, Camille put on a show that crossed genres, coordinated colours and parted a few men from their shirts. The stunning R&B ballad Waves was introduced with a wash of electronic sound and an orange neon skipping rope undulating in the dark.
Baby Carni Bird, a song about being run over, saw Camille flapping her elbows and singing like a siren (literally) as her team made sandpaper noises with their palms; a cover of Too Drunk to Fuck came with hiccups and punk-fuelled hysteria. Janine III saw her fashioning a skirt from the shirts then singing frighteningly fast.
The diva-pastiche Money Note came with technically flawless showboating and a black gown that showed off the crack of her bottom. It all felt more exciting than eccentric: earlier, she had everyone marching in time to her own rhythm. We were still doing so after we left.
Camille
Roundhouse
Chalk Farm Road, Camden Town, NW1 8EH
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