Tonight’s support comes in the shape of the svelte and effortlessly debonair Cosmic Crooner. Wearing a wide-lapelled, flared trouser suit, imagine a young Alain Delon mixed with Nick Cave—then add a little Serge Gainsbourg stardust, and there you have it. A soft, velvet-coated soundtrack transports you to another time and place. Close your eyes, and you could be in an open-top car on La Grande Corniche, the sun beating down and cicadas chirping.

Moving effortlessly across the stage, engaging with the crowd in an almost tongue-in-cheek fashion, the Cosmic Crooner is instantly captivating and utterly addictive. A short yet beautifully cinematic set of songs and moments—each one drawing you in, making you connect and smile.

Since emerging in 2017, Mattiel has continued on her genre-defying journey. She is an ever-evolving and multi-layered artist, difficult to pin down—certainly musically. Since moving from Atlanta, Georgia, to Firenze, Italy, she has developed into a solo artist, spearheading her own path. Tonight sees her performing to a packed and expectant Glasgow crowd who probably aren’t entirely sure what to expect. There’s some chatter that Mattiel has “gone country,” likely due to her most recent Nashville-recorded release.

What happens next is as unexpected as it is surprising. A dazzling and distinctly non-country version of Baby Brother from her first album ignites the set, reimagined so dramatically that it takes me a moment to recognise it. It is brilliantly assured and serenely confident, delivered with a swagger more Beastie Boys than you could ever have imagined—reminiscent of Mattiel’s cover of Looking Down the Barrel of a Gun. As the night progresses, a truly reverent audience witnesses a blistering performance, featuring a string of elegantly crafted new songs: Heartbreak Heatwave, Fine to Die, Victim for My Love. The themes are more direct, more personal, and the vibrato in her voice has been replaced with a clarity and razor-sharp fragility that allow the songs to shine. Her voice remains as pure and hauntingly timeless as ever, and with Laurence Hammerton on guitar, this is the perfect package.

Mattiel has seamlessly grown into her role as a solo artist. Having seen her live several times, it’s clear she has gained confidence and ability. Touring with Jack White, Tame Impala, and Jeff Goldblum’s Mildred Snitzer Orchestra has certainly helped her learn the ropes and receive any necessary validation. Work on the new album is well underway, and based on tonight’s performance, it promises to be magnificent. There’s a line in one of the new songs that goes something like, “I’m a professional at hide and seek.” As an artist who improves year on year, Mattiel holds a lot of jokers in her back pocket, and I’m sure she has a few aces up her sleeve. I can’t wait to see what her next move is. Whatever you do—expect the unexpected….

Words: Nick Tammer

Images: Chris Hogge