Gig Review - Bloc Party

Bloc Party
Folkestone Leas Cliff Hall
03/03/2007

Since I last saw Bloc Party they have released a greatly acclaimed debut album, flirted with chart stardom and then attempted to subvert this mild fame by disappearing somewhere in deepest, darkest London. Tonight, they're back.

Beginning the set with new album opener Song For Clay (Disappear Here), the band set their stall out. Starting delicately with heartfelt lyrics, it erupts into a raucous chorus that ploughs Arcade Fire's field of making depressing lyrics curiously uplifting.

During old favourite Blue Light singer Kele's peculiar voice is at its most mesmerising. There is a fragility that oozes from his every utterance. "If that's the way it is, then that's the way it is," he ponders. The crowd divides: those entranced watching Kele's internal fight between shyness and star power stare avidly; others wait to hear a huge chorus and jump around lots.

This moment arrives as guitarist Russell launches into Banquet, riff as angular as fringe. The crowd jubilantly energises itself after listening intently to new tracks, wishing they knew all the words.

Only when Helicopter lands does mayhem truly ensue. The Leas Cliff Hall wasn't built for crowd-surfing and hundreds of people screaming "Are you hoping for a miracle?" but it gets it anyway.

Matt Tong's drumming surges the set on, ensuring more whimsical numbers like Waiting For The 7.18 maintain a drive to compliment their sentimentality. During Positive Tension he achieves a pace so rapid it appears to the inebriated eye that he has grown an extra arm.

It is in calmer moments that Bloc Party set themselves apart. So Here We Are carries a fuzzy joy within its jangling musings that dissolves any pretensions in the room, as cool kids enthusiastically sing along with middle-aged couples.

When Kele sings This Modern Love, elation appears all-encompassing in this quirky old hall. Reflective and sublime, it sits the right side of contrived. Surely they can't top this, can they?

Quite simply, no. When they return for an encore it is strangely subdued considering the vitality of the set preceding it. After playing the dull meanderings of Compliments, the uninspiring Sunday cannot be saved by Gordon swapping his bass for drum sticks.

She's Hearing Voices confirms Bloc Party's ability to make a crowd dance as it's frenetic repetition eats into the crowd's consciousness. They can do more though, make you think as well as move, which makes final track Two More Years so disappointing. A harmless pop moment completes the night, when the set and the crowd deserved epic closure.

Nevertheless, tonight's formula of urgency blending with thoughtfulness showed why they are one of Britain's most exciting bands. Judging by the satisfied faces filing out into the Folkestone night, they will soon be one of the biggest too.

Greg Rose