Zero 7, Shepherd's Bush Empire, London

When simple things come to naught

Of this year's Mercury Music prize nominees, a list that is dominated by promising if unresolved new acts, surely none were more surprised to find themselves in the frame than Sam Hardaker and Henry Binns, the one-time studio gofers now recording under the banner Zero 7. Their début album Simple Things was released only in the spring, following (and including most of) a brace of well-received EPs, yet word of mouth has already seen it shift some 40,000 copies.

It's an often beguiling record, unashamedly – they admit to being fans – reminiscent of Air's Moon Safari with its languid instrumental passages, although Zero 7 also deal in traditional songcraft, featuring various vocalists. But taking the music to the people is a different matter entirely, and this sold-out show proved predictably problematic.

In front of an audience almost congratulating themselves on possessing such prescient taste, an expanded line-up, including an eight-piece string section and no less than three keyboard players (which will certainly scupper their chances of a spot on Later, for where will Jools fit in?), Zero 7 made their London début.

Despite the multitudes on the stage, the sound that emerged was lacking in crucial depth. The violinists remained trapped in their corner of the stagethroughout, while guest vocalists simply wandered on. When Sia Furler first appeared, someone rather cruelly exclaimed, "It's Emma Bunton." Then again, she was wearing both skirt and jeans in an Oz attempt to disturb national morale by mocking our British summer on its hottest day.

Her belting tones (and involuntary arm movements, reminiscent of Joe Cocker) proved perfectly satisfactory, yet hinted at Zero 7's stage dilemma. She and her vocal cohorts, the excellent soulman Mozez and the folkier dance veteran Sophie Barker, swaying on impressive stilettos, are more in your face than the band, their skills honed in sweaty clubs rather than the more refined realm of the studio (though Barker and Furler's duet on the upcoming hit "Destiny" invokes the tampon advert sounds of Tasmin Archer).

But the encore "Likufanele", sampling a South African gospel choir, was terrific, while the singalong of Sly Stone's "Hot Fun In The Summertime" was an ideal way to utilise the five singers by now present.

Yet the voiceless sections really are the best parts. Air had a similar problem when live performance beckoned, in that instance resorting to crude volume. Zero 7's subtlety may be their strength, but currently the record beats their stage show hands down. But then, doesn't a decent Chardonnay taste better at a dinner party than down the pub?