Glasser – The Sanderson Hotel, 14/07/2011

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Photograph by Steve Asenjo

LA born Cameron Mesirow took to the small, courtyard stage of West London’s Sanderson Hotel late last Thursday under the guise of her avant garde, tribal pop moniker Glasser. Having signed to the incredible True Panther Sounds label last year (home to Girls, Delorean, Teengirl Fantasy etc) for the release of her debut album Ring, the ever-captivating Merisow has since been winning over fans with her ethereal vocals and percussive soundscapes. Despite her incredible debut effort, it is safe to say that last week’s show was definitely not the best way to experience her particular unique, sophisticated cerebral pop offerings.

Upon arrival guests are herded into a pristine, narrow bar, bustling with socialites and businessmen guffawing their way through their umpteenth over-priced cocktail. Told that only those who have paid for a courtyard seat (at £40 a head no less) can go outside we are resigned to the sideline, watching the evening unfold through a pane of glass. There is little to no room to stand by the window in order to get a good spot to watch the performance we believe is but 5 minutes away. Feeling very much like goldfish in a bowl, everyone I was with agreed that they just wished the gig was already over so they could head home. Never before have I been amongst a crowd that wanted to leave before the effortlessly enchanting headline act had begun.

Forty-five minutes later, and we finally began to see signs of life from outside and we were told that we were now in fact allowed to go through into the courtyard. A mild scrumage later and we were ushered into a cramped outside space in close proximity to a plethora of blaring speakers. The sound was terrible and seeing anything other than flashes of colour was a luxury, but opening with the stunning, instantly recognisable number ‘Apply,’ Glasser’s piercing voice and incredible range seemed to triumph over the odds.

Still, as Merislow played through a half hour set that included synth-heavy crowd favourite ‘Tremel’ and the more relaxed, choral harmony driven ‘Plane Temp,’ all the audience’s eyes seemed to be glancing at were their phones, their empty drinks and the nearest exit for the moment when they could escape the incredibly claustrophobic venue.