With a mainstream friendly nod from the BBC Sound of 2015 poll and a debut record due on acclaimed XL Recordings (Adele, Radiohead, Jack White), Las Vegas native Shamir seems on paper to have success readymade: release an ear-bothering EP or two; hit the festivals hard and by September you’ll be sharing a stage with Diplo and Rihanna and booking a ticket on the first flight towards superstardom.
The reality is probably a little different; this is music that is too hyperactive and confusing to sell a million copies, but don’t let that put you off, it’s also absolutely brilliant.
Think the eccentric humour and idiosyncratic approach to genre of Outkast, the voice of Nina Simone and the rhythmic sex-funk of Prince and you’re only part of the way to capturing the larger than life appeal of 20 year old singer, Shamir.
Endless coverage has been devoted to his androgynous looks and fluid approach to gender.
Sometimes his songs are addressed to boys, sometimes to girls; sometimes the narrator is the pursuer, sometimes the pursued, but all that really matters is that onstage he’s a force of nature, part larger than life pop star, part shy traveller abroad, but never less than charming.
Taking to the stage in a baggy sweater and flowing trousers, hair tied up in a bob adorned with a red rose, there’s a touch of Bowie glamming up as Ziggy Stardust or Prince’s alter-ego Camille.
This isn’t just about playing dress up though, this is about articulating something more fundamental.
Pop music has always been about self-expression and the creation of an artistic self; it’s the highest tribute that tonight Shamir Bailey is right at home.
The precocious American is clearly riding his own wave; confidently dropping Pitchfork-endorsed breakout single ‘On the Regular’ just three songs in to a blur of whirling arms and declarations of affection, as the cheekily rapped verses give way to a canyon sized chorus.
After an opening run of disco-funk belters he effortlessly switches gear mid-set for a stripped back ballad that he describes as the soundtrack for a “funeral for negativity”.
The crowd is small, but enthusiastic, maintaining Stereo’s reputation for putting on great left-field gigs, with Shamir calling up individual members to give them red roses.
Elsewhere, the exquisitely camp spoken word chorus of recent single ‘Call It Off’ warns about the danger of ratchet boys over a strutting electro-clash beat, while a cover of Californian punks, Joyce Manor is a surprise inclusion that shows the young Las Vegan as a true post-tribalist music fan.
Delivering pop music with soul and wit, Shamir might be too unorthodox for the charts, but he’s light years ahead of most other pop stars out there.
Words: Max Sefton
Photos: Thomas Ritchie
