Then I watched Little Boots' videos on Youtube and in many ways she Represents Pop Music Right Now because she is ridiculously talented and charismatic (one time I stood next to her in Leeds and talked to her about something and she sold me a Dead Disco badge and Was Nice and Not At All Strange) and 'personal' and 'web 2.0' and all those other kind of pretentious things we expect indie and pop bands to do now that the internet is literally punching us with its promise of 'absolutely everything' at your fingertips. Little Boots isn't ironic when she does strange piano covers of Wiley and Neil Young songs or is fiddling with that hilarious Tenorion thing and she doesn't attempt to emulate any past glories or dredge up forgotten (but oft-repeated) phases of music, like the tired 80s cliches Ladyhawke falls back on.
Ladyhawke needs 'media training' or whatever McFly were taught to make them seem interesting on screen, or 'voice training' to make her vocals seem less tepid, or 'an image shift' so that she can stop being another one of those acts that has one knockout song that is shamed by the rest. Maybe she needs outward charm or intrigue or ambiguity or depth, but those things Can't Be Taught so she will have to compensate with Other Things. MIA isn't particularly charming on screen but 'her music makes up for it' or something. Anyway, there's hope for Ladyhawke. But more hope for Little Boots. And even more for Britney.
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