Paloma Faith Thetford Forest Live June 27 concert review

Calling out “useless” men, and the production team for the smoke machines being too strong and for the fan staying on when it wasn't meant to, the Hackney musician took no prisoners. 

Rather than the latter being diva behaviour, however, it was more the case that Faith - who looked regal in a ruffled red dress, matching gloves and sipped from a mug of tea - wanted to put on the best show possible for her legion of fans…

She was also keen to make it to her Glastonbury set on Sunday with her voice still in tact. Totally fair enough. 

Touring in support of her new album ‘The Glorification of Sadness’ - a collection in which she process her recent divorce - the 42-year-old displayed an Adele-like level of chattiness between performing songs from her vast discography. 

Kicking off with break-up anthem ‘How You Leave A Man’ and throwback hit ‘Stone Cold Sober’, she instantly had the large crowd dancing and singing along as the sun started to set. 

Soon after, Faith explained that the pacing of the show was “going to be a little bit erratic, because the new record is “quite schizophrenic”.

Sharing her reasoning proved helpful because the variation from rock (the riff-heavy headbanging outro of 'Let It Ride') to club-ready synchronised dancing ('Cry on the Dance Floor') could have felt disjointed otherwise.

While the heavier moments were sonically impactful, the comparatively sombre moments were equally as compelling. 

“This next one is the most difficult to sing, I’ll get through it and then do some funny ones… so let’s all be miserable,” she said before taking a seat for a vulnerable piano-led performance of ‘Divorce’. 

Going on to treat some songs like the varying stages of grief, the wittily satirical ‘Eat Sh*t and Die’ - which recalls Lily Allen’s ‘F*ck You’ - was clearly representative of anger; with its orchestral harmonies and big band flourishes, it became an unlikely sway-a-long anthem.  

A clever pairing was the epic, unashamedly confident ‘God in a Dress’ and its younger sister ‘Picking Up The Pieces'; performed after a plug for her new book and a message about how she’s enjoying being single but sometimes feels “invisible” as a mum provided wider context to the person behind the incredible voice.

Throughout the night, Faith also took the time to hype up her band by giving them their moments in the spotlight: from welcoming the bassist to the front of the stage for a particularly funky solo, to bouncing next to the drum kit and having her two vocalists lead on the unflinching ‘Say My Name’.

She also invited the night’s effortlessly charismatic opening act, poetic rapper Kojey Radical, back out for a world exclusive performance of the gospel-tinged ‘Pressure’; after showcasing his skill as a lyricist, the lifelong friends shared a heartfelt hug. 

The final quarter of the show was dedicated to some of her breakthrough hits from 2009, including ‘Upside Down’.

There was even a cowbell plus twerking moment during the 2014's old school ‘Can’t Rely On You’, which was followed by two huge collaborations: Sigala-produced summer singalong ‘Lullaby’ and euphoric drum ‘n’ bass roller ‘Changing’ with Sigma.

Closing the show with a poignant message, Faith called for peace in Palestine before leading a lights-in-the-air rendition of ‘Only Love Can Hurt Like This’. Uniting the crowd like a choir, everyone sang in unison for a moment that proved incredibly touching. 

Her parting words - “my name’s Paloma Faith and I’m desperate for a wee” - certified a down to Earth relatability; similarly, restarting that closing song after forgetting the lyrics showed that even world-famous musicians make mistakes. We are all human, after all.

Though the setlist felt quite erratic, Faith's vocal ability was frequently jaw-dropping as she sang hit after hit. Those at Glastonbury this weekend are in for a treat.

Thetford Forest Live continues tonight with Tom Jones and Olly Murs on Sunday June 30.

(Image: Lee Blanchflower)

(Image: Lee Blanchflower)