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A boundary-breaking, British soul vocalist beyond your wildest expectations, Jamie Lidell is set to affirm his long-simmering musical ascendancy with his new album Multiply. With it, he has evolved into a prodigious performer, fusing elements that evoke several giants of the music world without ever appearing derivative.

Jamie Lidell has been shocking audiences for the past three years with his extraordinary live shows; which careen from glitzy Funkadelic extravaganza to hard electronic avant-garde showpieces. He was top draw at Sonar (Barcelona) and Ether Festivals (London) of recent years, performing at Ether juxtaposed with the London Sinfonietta, a bill that has toured to sold out coliseums and major performance houses across Europe.

A peerless vocal performer; his largely improvised shows have won him thousands of fans from Belfast to Tokyo. Reviewers have likened him to
“a 21st century reincarnation of Little Richard” with “a soul voice fried in honey like Sly Stone or Prince, and a beatboxing talent to make Muhammad Ali quake in his Everlast”, delivering time and again  “a thrilling, visceral performance”, “pure, visceral power: a scintillating display of demented musical and physical energy”, both “exhilarating” and “astounding”. Jamie Lidell is British music’s best kept secret, about to be unleashed.

His genre-blending live experience is both captivating and passionate – building tracks by expertly sampling and layering loops of his voice and shifting effortlessly from deranged beat boxing to soulful funk. Those who have witnessed his skills can attest to the exhilarating and anarchic abandon of his risk-taking, daredevil vocal endeavours. To watch is to be privy to Lidell harnessing the essence of pure spontaneous creativity.

Be mindful that no Jamie Lidell live performance is complete without visuals maestro Pablo Fiasco, a scion of the film underground. Using an array of samplers, cameras, electronic gizmos, costumes, masks, and film and video projectors, they cut up sounds and images in a pandemonious whirlwind, with Lidell manipulating and sparring with his own vocals, dressed in a range of "media suits" – costumes made of video tape, CDs, and even 16mm film. Each goading the other on to new and wilder heights, theirs is a true multimedia happening without parallel.

NME: "These cuts of cyborg funk fidget with digital tics and gasps... there's no stopping him"

THE OBSERVER: "...his impressionistic, shape-shifting and authentic album is nonetheless the sound of 21st century soul coming of age"

DAILY TELEGRAPH: "Jamie Lidell aims to cover all bases from 1960s soul onwards... With such a strong and versatile set of pipes, the role of devoted follower suits him as much as mad scientist."

IDJ: "If '60s music soul had been put in a time capsule, spun half-way round the universe and beemed back direct from the year 3000, it still wouldn't sound as alien and future-fresh as this."