Tag Archives: Metronomy

METRONOMY, Bossy Love at ABC, 16/5/17

Touring an album that wasn’t made to be toured is an interesting prospect; METRONOMY announced a tiny three night tour last year to promote the release of Summer ’08.

Having seen them live a plethora of times over the years, I must admit there’s very few bands that make me excited to go out on a Tuesday night after a full day of work.

At this stage, shockingly, I even manage to catch the support act, Bossy Love, who I must admit are absolutely brilliant live and seem to have a collection of absolutely brilliant tracks.

Even more shockingly, losing some cool points here, they’ve been around for a while; definitely check them out, they’re magic live.

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METRONOMY start off their set with ‘Back Together’, which sounds immense live; I mean they’re a wee bit loose with some parts of the song – Joe Mount smashing the drums out of any rhythm for example, but in all honesty I’m pretty sure only syncopation Nazi’s care at this point; they generally just sound and look like they’re having fun.

METRONOMY have this thing that only truly great bands possess, they take new takes on songs, including songs never played live before, and make them sound unique; the songs from Summer ’08 certainly strike new despite having listened to them countless times.

There’s the inevitable huge cheers for ‘The Bay’ from the Glasgow crowd, but a few songs later ‘My Heart Rate Rapid’ brings surely the set highlight for long term fans, they’ve not played it in five years live and it’s played here with a gusto and imagination that’s beyond most mere mortals comprehension (massively exaggerating here but trust me, it was phenomenal).

‘Lately’ is debuted tonight and is fitting with the general synopsis of the set, while ‘Love Song For Dog’ gets an airing and is predictably re-imagined in a way no one could predict.

At this stage in the concert I draw massive comparisons to Stop Making Sense, this band have fun playing funky off beat songs that resonate with an audience, not as large as they should have.

The encore whizzes in and Mount is on drums now having “Binned Anna”, he’s joking as Anna Prior takes full stage for ‘Everything Goes My Way’.

And just like that it’s over, a breathless, surprisingly frantic and unpredictable performance; it’s the reason I rate them so highly, having seen them live so many times over the years, it’d be easy to grow apathetic, but with METRONOMY that’s really hard, they’re easily the most interesting live band I’ve seen in the past few years.

More Photos

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Words: Andrew Melrose
Photos: Ang Canavan

METRONOMY, NZCA LINES at O2 ABC Glasgow, 4/12/14

Beginning life as a small solo project in frontman Joseph Mount’s teenage bedroom, METRONOMY have come along way over the last decade and the contrast between the band’s original form and where the four-piece is now can be seen and heard in almost every aspect of tonight’s performance.

The excellent NZCA LINES are first on stage and while this particular project is largely the brainchild of Londoner Michael Lovett, he is joined by two other musicians, a drummer and a guitarist, with the latter doubling up on keyboards.

Under the moniker of NZCA LINES, Lovett traverses musical terrain similar to that of bands like CHVRCHES and Manchester’s Y.O.U, his songs leading the audience into a carefully constructed web of icy synthpop and electronica that is uplifting, lyrically intelligent and at times hauntingly beautiful.

With an excellent balance between his poignantly quieter moments and almost danceable instrumentals, the set is enhanced with a simple but effective lightshow and is the perfect warm-up for tonight’s headliners.

METRONOMY appear on stage immaculate in matching white suits, the recent tours, in support of their fourth album Love Letters, being notable for the band’s new and striking dress sense, a change from the more casual outfits of previous years.

Their fashion sense isn’t the only thing that’s changed recently though, and Love Letters, the album from which much of tonight’s material is drawn, showcases a distinctive new direction for the band, both lyrically and musically.

Opening with ‘Holiday’, a song from their second album, Nights Out, the band gives it a new lease of life and what was in the studio a somewhat inaccessible track, with an almost uncommitted vocal, becomes on stage a thrilling and celebratory anthem, an extended instrumental following the final breakdown sending the audience into a dancing frenzy.

However, the crowd is as delighted with the band’s newer material as it is with the older gems on offer and ‘I’m Aquarius’, with its distinctive backing vocals and hypnotically repetitive chorus, is a particular highpoint.

As well as powerful vocal performances from Mount on ‘Month of Sundays’ and ‘Love Letters’ itself, another highlight comes when Oscar Cash, normally relegated to keyboards and backing vocals, steps up to sing a cover of The Beatles’ ‘Here Comes the Sun’, much to the delight of the audience, for whom he seems to be a particular favourite.

Finishing the night on ‘You Could Easily Have Me’, an explosive instrumental from their first album, METRONOMY deliver a set to please fans both old and new, returning to early material with the voice and sound of their most recent album and reminding us why they are currently one of the most exciting groups working within their genre.

More Photos

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Words: Malcolm Higgins
Photos: Stewart Fullerton

Primavera Sound, Barcelona, 29/5/14

With being a somewhat Primavera veteran, at least compared to my contributors attending the festival this year, I decided to let them take the writing and actually cut loose and enjoy myself, well why change what happens every year – the wear and tear of a 7am finish and the seemingly constant drilling around Barcelona fair takes it out of you.

Anyway this year Nick Ramsey took over reviewing duties to give you a newbie’s view on the festival, however we did manage to see a whole plethora of different acts, due to the constant array of clashes the festival throws up (more a nod to the festival’s constant impeccable line up rather than poor organisation), so I decided to input some of my own takes on the festival, those will be the one’s in bold – so here goes:

For years I had heard people singing the praises of Primavera Sound; a show-stopping line-up, an idyllic location and as much sangria as one can physically consume – I decided to make the trip out and I was not even remotely disappointed.

Probably the most efficiently ran, cleanest and vibrant festival I have ever attended, but more on the general experience of the festival later.

First band I caught of the weekend were The Ex, who I had also seen the night before at the BARTS venue as part of the pre-festival build-up.

A band that pre-dates some of their better-known contemporaries, the Dutch anarchist-punks perform with a raw and intense energy delivering tracks from their copious back catalogue.

I had wandered down a touch earlier than Nick on the Thursday to catch the sun soaked indie rock of Real Estate and while it kind of formed the backdrop of a bit of a Glasgow reunion, along with getting the Cry Parrot guide to Primavera (“it’ll be a LOL” cheers Fielding), it provides a delightful start in the early evening sunshine before the festival hits full flow.

I’ve enjoyed Warpaint on record, although would argue that their releases don’t have huge repeat play value, however as they perform on the ginormous Heineken stage, their material actually comes across incredibly well in such a large and open setting.

Playing mostly material from last year’s self-titled album, their set is polished, although they do close with a pretty poor David Bowie cover.

I caught Neutral Milk Hotel at the Barrowlands a few weeks ago and was pleased to be able to catch them again on what will most likely to be a short-lived reunion tour.

Opening with ‘The King Of Carrot Flowers’, the crowd is electric and hanging on Magnum’s every word, seeing NMH perform to such a joyous, festival type crowd is somewhat surreal but still enjoyable nonetheless.

Despite my best efforts and the insistent recommendation of friends, I’ve just not been able to get into St Vincent.

In an attempt to change my own mind, I decided to watch her set and have to say I was impressed, Annie Clark delivers a slick set, proving herself to be both a talented musician and an excellent performer.

It might not be for me, but judging by the size and reaction of the crowd, it seems St Vincent is on the way to bigger and better things.

After a performance on the Letterman show sent them viral, Future Islands have a pretty huge turnout at the Pitchfork stage.

Playing tracks from new album Singles, the crowd is responsive to Sam Herring’s bizarre vocal style and dad-dancing, personally I find it boring and all of the songs follow the same, repetitive format; more style than substance.

Glasgow’s CHVRCHES follow on the Pitchfork stage and also receive a large turnout, playing popular singles ‘The Mother We Share’ and ‘We Sink’, CHVRCHES are another band on the ascension.

I can’t really see anything difference or any value in their music, although perhaps the positive is that they may pave the way for talented Glaswegian and Scottish bands to receive more coverage.

In a small spell where mine and Nick’s viewing collides I find too many clashes and the heavy trek over to the Sony Stage too much to catch St. Vincent, so I find myself ridiculously overwhelmed my peer pressure and underwhelmed by Jeff Mangum’s whining and wander away to Future Islands in haze of loud mocking.

At the Pitchfork Stage Future Islands don’t quite have the same command as they do when I covered them at the Captain’s Rest some three years ago, but the days of small venues are behind them, I guess I’ll just cling to those memories.

Seeing Arcade Fire live is always a spectacle and a two hour headline slot at a festival in Spain at half midnight seems pretty much the perfect time and location for them.

Playing a blend of both Reflektor and older material, their set is a beautiful, emotional event for all in attendance; truly awesome.

I decide to miss Arcade Fire and Queens of the Stone Age in favour of the one act that you simply have to see at Primavera, the ATP Stage apparent residents Shellac, and Steve Albini and co don’t let down and as a mass of angry white men shout along to ‘Prayer To God’ you get lost the band’s emphatic presence; they play every year and every year they are not to be missed.

Touche Amore might appear somewhat out of the place on the bill to some but it’s a true reflection on how far the band have come.

Tearing through a raucous set, they barely pause for breath between songs, playing a broad mixture of old and new material, tracks such as ‘Honest Sleep’, ‘Just Exist’ and ‘Praise/Love’ are particular highlights.

Frontman Jeremy Bolm and the rest of the band look genuinely humbled by the reaction of the crowd, they may have carved their trade in basements and living rooms across America but Touche Amore look right at home on the festival stage and you get the impression this is just the beginning.

Seeing Disclosure at 2.30am on a warm night in Barcelona is an almost perfect combination, they might have been swamped by hype in the past eighteen months but in all honesty they deserve it.

Playing mostly material from Settle, they send what feels like a million people dancing into the streets of Barcelona, the most exciting thing is that they are still really only in their infancy and I can’t wait to hear what they do next.

After staying on for a wee bit after Disclosure’s ultra fun dance era lessons I head over to the festival’s most impressively set up stage, the Ray-Ban Stage, for a night of dancing with Jamie XX; it’s all hazy memories from there but after being shushed by ultra obedient Metronomy fans at 4am we continue dancing til the tubes are back on, or at least until Jamie finally drops that beat, I reckon it’s still up there – really Jamie drop the beat I’ve been to the toilet and back!