Nabihah Iqbal @ King Tut's, Glasgow, 21 Sep

Whilst awaiting Nabihah Iqbal’s passionately dreamy set we relish in Tara Lily’s dynamic performance. The British-Bengali artist warms up the crowd by blending elements of jazz and pop accompanied by soothing vocals. Returning to Glasgow with the same passion as her last gig at The Glad Cafe, she moulds her performance with groovy piano notes and ruminating lyrics. 

After some passionate melodies to draw the crowd in, Nabihah Iqbal takes the stage. The London-born producer and DJ immediately captivates us with the synths of Dreamer, the second track on her new album of the same name. Similarly to the track, the crowd's bodily reaction is imprecise, some embody the pulsating sounds while others sway pensively to Iqbal’s unassuming voice. The night already feels special, partially on account that it’s the first stop on her UK tour but also because it’s her first-ever performance in Glasgow. It’s evident it’s a genuine delight for her as much as it is for the crowd. 

Between songs she converses, generously recounting the origins of her second album at a residency at Cove Park in Scotland, grateful for the scenic landscape but abundantly aware she was mostly alone other than sheep. She jokingly admits she had developed a slight fear of them having read a horror book involving sheep just before the trip. Her conversational banter forges a sense of intimacy that feels intrinsic to Iqbal’s character and her music.  

She floats effortlessly into This World Couldn’t See Us, jolting the crowd into varied movements of trance and dance. The spoken word monologue makes you feel genuinely connected to Iqbal’s bittersweet sentiments, reminiscing on the past and despondent of the present. The music blends with her voice producing a dreamy-pop melody that is consistent in the album. Afterwards, she introduces Sunflower, explaining it was inspired by “artists who make amazing art and die too young.” The guitar strums gently propelling her rich voice, the drums eventually bringing the song to its peak, erupting with melancholy. 

Zone 1 to 6000 is a throwback from her debut album, Weighing of the Heart, an ode to London. It’s a concoction of guitar melodies, accompanied by airy drums, constructing an electro-pop beat brought together by raw lyrics. The crowd are joyfully basking in it all and pleasingly applaud and woop at the end of each song. Iqbal draws the crowd back in with chatter and candour, showing she’s well-versed in Scottish culture. “Has anyone here met Limmy? You must see him strolling around,” she asks, confessing that she’s a big fan of the Scottish comedian and watched all his skits on the drive up to Glasgow. We all bellow with laughter and scan the room for a hand. 

Iqbal begins playing Lilac Twilight before bringing the heartfelt performance to an end with Closer Lover, which she explains was inspired by poet John Keats. She asks the crowd if anyone knows what age he died. A voice shouts out from the dark – “23!” to which Iqbal responds, “That’s right, find me at the end of the show, we need to talk about Keats.” Bursting with dreamy, mellow tones, Closer Lover's lyrics of longing bring the song, and show, to a melodious and crescendoing end. 

Nabihah Iqbal is a boundless artist, her authenticity projected through every song by her infectious presence. If you’re searching for a striking, multilayered and beat-driven performance with equally ruminating sounds, Dreamer is the show for you.