Esther Flatters and the Sugar Daddies at Cafe de Paris

Café de Paris seems to be one of the most fabled venues of London. Most people have heard of it, yet everyone I mention it to asks, "what’s it like there?" It’s as if people see it as this Moulin Rouge club where women dance in skimpy clothes and anything could happen. To be honest, that doesn’t seem to be far from the truth…

It’s a Friday evening, my least favourite time to venture anywhere near Leicester Square. The tourists and drunks are out in force so I quickly make my way to the venue and dive inside. Café de Paris’ charm is immediately thrust in your face. Anyone worth their salt here has made an effort, delved into the depths of their wardrobe and embraced the '40s burlesque atmosphere of the venue. But despite first impressions, Café de Paris isn’t quite sure which era it’s trying to emulate. The main room is modelled on the Titanic’s ballroom. A nice touch, but didn’t the Titanic sink in 1912? Still, it’s a refreshing change from disco-lit dance floors and grimy rock clubs.

But I’m not here to admire the décor. Tonight is the first in a run of Friday nights called ‘Café Rocks’. The only irony here is that tonight’s line-up lacks the rock element, but we’re still in for a night of blues, soul, funk and general sexiness.

But it’s one band’s aim tonight to steal the show. Or should I say one woman’s. Esther Flatters and the Sugar Daddies are big band burlesque staring Miss Esther Flatters herself, who’s like a young Dita Von Teese, with more talent and less, well, teasing. Everything from her entrance (a fantastically over-the-top descent from the balcony, through the crowd and onto the stage) to her stage presence, complete with suggestive winks towards male crowd members, is brilliantly theatrical. But let’s not forget one important feature in this line-up…

No diva is complete without her supporting band, and Esther Flatters is no exception: her Sugar Daddies are an accomplished outfit. From start to finish, they fill the venue, with solid drums and bass leading the proceedings. The trumpet and saxophone in turn punctuate Esther’s dark, floating vocals. And dark they sure are. Songs inspired by Charlie Brocker’s Dead Set are always going to attract my attention and you can’t help but laugh as she introduces her final track, ‘Beautiful Barbarella’, as a “song about a girl who goes mad and kills men… She cuts off their willies!” Naturally this introduction is delivered with a giggle and a smile.

So a successful evening for all. Café Rock is enjoyably different, in a venue that's definitely well worth checking out.