Alexandra Palace
Friday 14th December
If a band is trying to gage how far they have progressed, playing Alexandra Palace is the acid test. “Let’s pretend for a moment that this is a sweaty little club instead of a huge exhibition centre,” pleads Kele Okereke. When you are facing a hall more suited for a political conference than a gig, this isn’t an easy task. Bloc Party manage it with a jerky medley of understated style and in-your-face bravado.
The Cribs find the transition less comfortable. Chaotic kings of sticky-floored settings nationwide, in front of a larger audience they sound flat. ‘Our Bovine Public’ is a disastrous opener marred by the venue’s notoriously troublesome acoustics and poor timing. Things improve with ‘Hey Scenesters’, the Jarman brothers mastering the mix between enthusiastic thrashing and maintaining rhythm.
Three albums in, the band have an array of songs to choose from, but pluck mostly from latest record Men’s Needs, Women’s Needs, Whatever. Despite the catchiness of singles ‘Moving Pictures’ and ‘Men’s Needs’, there is a surprising lack of reaction from an audience still muttering about the injustice of £3.50 pints. ‘Another Number’ is the highlight, raising spirits and arms in an enthralling surge of simplicity. But Ryan’s inability to perform a trademark stagedive due to the gap between him and the audience is ironically representative of the distance between The Cribs’ sound and its suitability for venues like this.
Bloc Party have a few more tricks, a few more hits, and a lot more showmanship. These don’t make a band great, but they make a crowd move. ‘Positive Tension’ is unleashed early, a juddering, uneven triumph; ‘Banquet’ follows sharply, still sounding audaciously fresh.
Singer Kele revels in his shape-shifting role, simultaneously a siren of despair and a symbol of debauchery. He exudes energy during a raucous rendition of ‘She’s Hearing Voices’, he glows with emotion through a tender ‘So Here We Are.’ Matt Tong may look like an IT expert and has an annoying tendency to take his shirt off, but he drums with imagination and tenacity, keeping an ungainly momentum to Bloc Party’s performance.
They generate a thrilling sense of occasion that peaks as the band reappear with latest single ‘Flux.’ Often you wish Russell would stop messing about with effects and just play his guitar; here, the sound soars, lasers blaze above and the track zips by with outrageous rapidity. ‘Sunday’ adds balance and warmth, before a wired race through ‘Helicopter’ and the grand exploration of ‘Pioneers’ complete the set. Bloc Party pace the gig expertly, controlling its tone. Everyone leaves feeling it speeded past, yet was exhaustingly epic. Test passed.
Friday 14th December
If a band is trying to gage how far they have progressed, playing Alexandra Palace is the acid test. “Let’s pretend for a moment that this is a sweaty little club instead of a huge exhibition centre,” pleads Kele Okereke. When you are facing a hall more suited for a political conference than a gig, this isn’t an easy task. Bloc Party manage it with a jerky medley of understated style and in-your-face bravado.
The Cribs find the transition less comfortable. Chaotic kings of sticky-floored settings nationwide, in front of a larger audience they sound flat. ‘Our Bovine Public’ is a disastrous opener marred by the venue’s notoriously troublesome acoustics and poor timing. Things improve with ‘Hey Scenesters’, the Jarman brothers mastering the mix between enthusiastic thrashing and maintaining rhythm.
Three albums in, the band have an array of songs to choose from, but pluck mostly from latest record Men’s Needs, Women’s Needs, Whatever. Despite the catchiness of singles ‘Moving Pictures’ and ‘Men’s Needs’, there is a surprising lack of reaction from an audience still muttering about the injustice of £3.50 pints. ‘Another Number’ is the highlight, raising spirits and arms in an enthralling surge of simplicity. But Ryan’s inability to perform a trademark stagedive due to the gap between him and the audience is ironically representative of the distance between The Cribs’ sound and its suitability for venues like this.
Bloc Party have a few more tricks, a few more hits, and a lot more showmanship. These don’t make a band great, but they make a crowd move. ‘Positive Tension’ is unleashed early, a juddering, uneven triumph; ‘Banquet’ follows sharply, still sounding audaciously fresh.
Singer Kele revels in his shape-shifting role, simultaneously a siren of despair and a symbol of debauchery. He exudes energy during a raucous rendition of ‘She’s Hearing Voices’, he glows with emotion through a tender ‘So Here We Are.’ Matt Tong may look like an IT expert and has an annoying tendency to take his shirt off, but he drums with imagination and tenacity, keeping an ungainly momentum to Bloc Party’s performance.
They generate a thrilling sense of occasion that peaks as the band reappear with latest single ‘Flux.’ Often you wish Russell would stop messing about with effects and just play his guitar; here, the sound soars, lasers blaze above and the track zips by with outrageous rapidity. ‘Sunday’ adds balance and warmth, before a wired race through ‘Helicopter’ and the grand exploration of ‘Pioneers’ complete the set. Bloc Party pace the gig expertly, controlling its tone. Everyone leaves feeling it speeded past, yet was exhaustingly epic. Test passed.
2 comments:
Gostei muito desse post e seu blog é muito interessante, vou passar por aqui sempre =) Depois dá uma passada lá no meu site, que é sobre o CresceNet, espero que goste. O endereço dele é http://www.provedorcrescenet.com . Um abraço.
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