Charli XCX at Fitzgerald's, 10/16/2014

Keep Houston Press Free
I Support
  • Local
  • Community
  • Journalism
  • logo

Support the independent voice of Houston and help keep the future of Houston Press free.

Charli XCX, Elliphant, Femme Fitzgerald's October 16, 2014

Fans of British pop starlet Charli XCX who missed her show at Fitzgerald's last night are pretty well out of luck. We're not likely to see her in such a small venue again anytime soon. She's already too famous for the place.

That wasn't the plan, exactly. When her current club tour was booked, it was meant to help break the singer stateside as her new album, Sucker, hit store shelves. But now, after her hook on Iggy Azalea's "Fancy" helped propel her to household-name status over the summer, she is broken, baby. Her advance single from the new record -- the bouncy, synthed-out "Boom Clap" -- hit No. 1 on the Top 40 chart, prompting her label to push the release of Sucker back to December in order to prepare a much larger marketing blitz.

That blitz will almost certainly involve putting her on stages much larger than the one at Fitz. The old club on White Oak was packed past the rafters on Thursday night with a strange mix of radio-obsessed teenyboppers and synth-loving hipsters, illustrating the British import's unusual crossover appeal.

There was no room to dance while Charli's openers warmed up the crowd, but folks bounced around in whatever space they could manage. British popster Femme was on first, offering up a snappy style heavily informed by Madonna's early NYC period. Next was Elliphant, who spat rhymes and hooks with a fiery Latin charm over reggaeton and dancehall beats. I was shocked after the show to discover that she's Swedish.

Both ladies sang over bass-heavy DJ tracks, and it seemed fair to assume that Charli would provide more of the same. After all, that's how pop stars do it in 2014, right? The performance her fans got, however, was something else entirely.

The dreamy keys and drum machines of Charli XCX's hits would be replaced on the evening with old-school rock and roll firepower. The DJ was nowhere to be seen. In his place was a three-piece band of young women, tuned up and ready to jam. This was not going to be anything like an Ariana Grande show, or God forbid, the Spice Girls.

Maybe Gwen Stefani. When Charli appeared onstage to a rapturous welcome, she was dressed as a goth knockout straight from the '90s, clad in a black slip, miniskirt, boudoir robe and shiny go-go boots. Evincing no cutesy choreography, the singer instead played the part of a proper rock and roll front woman, and she did it with the swaggering stage presence of a seasoned performer.

Tossing her hair and pumping her fist, she opened the set with the title track from for forthcoming record -- the first of many from the new disc to be rolled out. The ears of the 11-year-olds in front of me might've been burned by its shouted refrain of "fuck you," but two songs later, when the band rocked the hell out of Icona Pop's "I Don't Care," the whole club was vibrating with positive energy as the crowd joyously screamed and pogoed along.

Story continues on the next page.

While Charli has been noted for her '90s revivalist style, she dug back deeper, into the early '80s, for the middle of her set. There was a fair bit of the Cure crammed into the DNA of "Black Roses," and a fat dab of Madonna in "Lock You Up." All of her material, old and new, benefitted greatly from the electrified punch of the guitar and drums, which accomplished the neat trick of turning a studio artist into a bona fide rock star.

The rapturous, sold-out crowd had already gotten their money's worth by the time set-closer "Gold Coins" rocked harder than it had any right to, and Charli hadn't even broken out the big hits yet. A few eyes bulged when the songstress rapped Iggy Azalea's verses effortlessly on "Fancy," sounding something like a tiny, British Zach de la Rocha. "Boom Clap" was merely the icing on the cake. Charli XCX had already delivered well beyond expectations.

It was clear on Thursday that she had graduated from featured guest status to the main attraction. Next, she's going to need a bigger stage.

Personal Bias: Drums > drum machines.

The Crowd: All ages. Like, all of 'em.

Overheard in the Crowd: "Next time, she's gonna be playing at Reliant (NRG). Wait!"

Random Notebook Dump: When the Spice Girls used to shout "girl power," it was cute. When Charli yells out "pussy power," it's not platitude. Charli XCX is powerful, and rated "M" for mature. "Lick it, lick it!" she hollered, as a few parents wondered what the fuck they had gotten their daughters into.


The Ask Willie D Archives Houston's Top 10 Hipster Bars, Clubs & Icehouses 2014 Today's 10 Most Promising Young Metal Bands Hip-Hop's Seven Best Breakup Songs Houston's Top 10 Rooftop Bars and Lounges

Keep the Houston Press Free... Since we started the Houston Press, it has been defined as the free, independent voice of Houston, and we would like to keep it that way. Offering our readers free access to incisive coverage of local news, food and culture. Producing stories on everything from political scandals to the hottest new bands, with gutsy reporting, stylish writing, and staffers who've won everything from the Society of Professional Journalists' Sigma Delta Chi feature-writing award to the Casey Medal for Meritorious Journalism. But with local journalism's existence under siege and advertising revenue setbacks having a larger impact, it is important now more than ever for us to rally support behind funding our local journalism. You can help by participating in our "I Support" membership program, allowing us to keep covering Houston with no paywalls.

We use cookies to collect and analyze information on site performance and usage, and to enhance and customize content and advertisements. By clicking 'X' or continuing to use the site, you agree to allow cookies to be placed. To find out more, visit our cookies policy and our privacy policy.


Join the Press community and help support independent local journalism in Houston.


Join the Press community and help support independent local journalism in Houston.