What was your most anticipated gig in recent years? You know that artist whose album you simply don’t tire of listening to? I’m deeply conflicted about how to answer the above question as I’ve seen some crackers this year, Kate Bush, Prince and Hall and Oates to name a few, but in all honesty it would have to be The War On Drugs.
Lost In The Dream has been a lot of folk’s choice of album of the year also and it seems I wasn’t the only one sharing the sentiment as I witnessed a desperate scramble for tickets earlier on in the day.
I even escorted a friend from East to West in a dash for a ticket (thanks to Gerry’s lady Trisha for the escort on a horrible stereotypical rain filled Glasgow night).
The band arrives on stage to a paradigmatic Glasgow reception and immediately set their stall out by performing ‘Burning’.
Halfway through the song it is glaringly evident the band are in tour stride, the easeful ensemble eradicating any doubts about their live credentials.
Despite the lyrical introspection, insecurity and obsessiveness, a reoccurring theme in Lost In The Dream, the band strut through the track while unleashing a sonic armada.
Delving into the back catalogue is risky when the crowd is anticipating the full Lost In The Dream album, but ‘Arms Like Boulders’ maintains the bands intense, vociferous and amiable presence.
Adam Granduciel may have taken his vocal inspiration and delivery from Dylan, but live he prefers a profound delicacy that can’t be emulated.
‘Under The Pressure’ and ‘In Reverse’ are up next and are met by exuberance from an already enthralled crowd.
These tracks showcase the band’s laconic and meticulous rhythm section, David Hartley on bass is unemotional and fastidious and Charlie Hall drums like a jet engine, sucking in the bands energy and propelling them forward with an indefatigable peremptory rhythm.
I am sure that I was not the only one in the crowd left feeling incredulous at the array of aptitude and technique conveyed.
The crowd is docile (especially for Glasgow) but equally fixated and mesmerised by the band, and the set highlight was about to be unleashed.
‘Disappearing’ pursues ‘An Ocean in Between The Waves’ in a ‘have-the-band-read-my-mind’ sort of ideal, if anyone thinks there’s a finer pairing of contrasting songs recorded/played live, well Sir/Madame, you are a prevaricator and a charlatan.
The band smashes these songs out with a deserved apt energy, granduciel poking his feet at the plethora of pedals and effects at his disposal.
My only criticism of the whole gig is that there is a slight sound malfunction during ‘Disappearing’ where the guitar solo is not audible, aside from that, the mastery of these songs live outweighs any negative semblance.
Robbie Bennett is more apparent on the keyboard during those numbers and plays with a sentient and emotive calm, every note teeming with honesty and poignancy.
To stop this review descending into War and Peace I would like you, the reader, to be involved in the first ever presumptuous review.
I would like you to presume that every song played at this gig was amazing and played perfectly with a heartfelt emotion that, as much as I try to convey this using my words, can’t be believed unless it is seen.
‘Suffering’ – amazing. ‘Come To The City’ – amazing. You catching my drift?
The set was littered with songs from their back catalogue and it’s a testament to the band that they don’t stand out when compared to the new material.
The encore consists of tour favourite ‘Baby Missiles’, a George Harrison cover, ‘Beware Of Darkness’, and ‘Your Love Is Calling My Name’, which was executed as deftly and adroit as the rest of the set.
The crowd are mesmerised throughout and despite not being as boisterous as normal certainly never appeared restless.
I think they were just as emotionally stunned and drained as me, roll on February when these chaps are back in Scotland.
Words: Andrew Melrose
Photos: Angela Canavan
