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"To thine own self be true" reads the Shakespeare quote engraved above the stage at the Conway Hall - a small, 1920s town hall hidden away in the mass of central London. Perhaps it was coincidence but it feels appropriate that La Roux might choose this stage, with a statement of independence carved above, to launch her new album. Originally a duo consisting of Elly Jackson and non-touring member Ben Langmaid, La Roux is now Jackson's solo project (as most people had already seen it anyway). In a recent interview she said she felt that the artist she wanted to be, Langmaid didn't agree with, and so, perhaps these words ring true for Jackson as she prepares to relaunch herself for world domination 2.0, alone.

She enters from the back of the tropical-themed stage which is haphazardly decorated with a few pastel cut-outs of surf boards and a couple of ferns each side of the stage (the music biz must be suffering if they can't even get La Roux some real palm trees, huh?). Not that is makes much difference. With a four piece band in tow, she launches into 'Let Me Down Gently', a languishing, downtempo slice of electro-pop. Whilst we might expect a certain level of nervousness after 4 years away, her return is in fact a self-assured and magnetic display of showmanship. She stands poised at the mic stand, complete with her electric red quiff and matching blazer, pleading in anguish on lines like "You're not my life but I want you in it." We even treated to a Careless Whisper style sax solo. It's the only slower moment in the set as almost every other track is designed to get the crowd dancing with a densely packed hour of hits and future-hits with no let-up in the pace.

'Sexotheque' is when things start to get appropriately sweaty. Arguably the best the song from the new album Trouble in Paradise, the insanely catchy refrain "Oh that money, money, money, I bet, he's at the Sexotheque" is quickly picked up by the crowd and shouted back to the stage. Jackson is clearly enjoying being back. Perhaps it was her frosty persona before but she seems more confident in herself this time around. She slides and side steps round the stage, daring the audience to dance with her. And she's smiling too, almost all the time. It makes for a much more enjoyable experience than her early shows.

The difference of having a full backing band is also a welcome addition. They throw themselves into 'Quicksand' as if they've been taking steroids and hitting the gym 5 nights a week. It's weighty, muscular and Jackson's voice appears to have grown stronger too. Of the other new songs on offer, 'Tropical Chancer' and recent single 'Uptight Downtown' go down a storm. The latter references the riff from Bowie's 'Let's Dance' and it sends the audience wild as the trash of the guitar reverberates off the walls. Given that it doesn't look like there have been any refurbishments since the '70s at the Conway hall, it's as close as we are going to get to the real thing.

It's left to the hits to close the set. 'In For The Kill' is perhaps not the high point as one might expect. Its tinny production is the only track that is not suitably beefed up to meet the lush textures and deep grooves of the new material. 'Colourless Colour' fairs much better, as does Fatal Attraction-meets-Thriller 'Tigerlily', whilst closing track 'Bulletproof' has lost none of its power to inspire a mass sing-along from the crowd. They're slightly out of tune but with smiles beaming across their faces, they clearly don't care.

The atmosphere is electric throughout. It's the sign of an artist at the peak of her powers. If being true to herself is what Jackson has been trying to achieve in her time away, then this show is proof that it has paid off. It's quite simply a brilliant performance from start to finish.