Can you read my mind? The Killers, London, 28/11/17

If I was trapped on a desert idea and could only listen to three artists for the rest of my days, they would be The Cure, Los Campesinos!, and The Killers. While differing in style, all three have an extensive back catalogue so boredom would not be an issue.

This theory was proven last night by The Killers' wonderful wonderful performance in London. Touring in support of their latest album, Wonderful Wonderful, Nevada's most successful rock band took over the O2 arena for two nights only.

Support came in the form of Australia's Juanita Stein. After a 45 minute wait, a brightly lit triangle rose up to reveal Brandon Flowers (lead vocals, keyboards, bass), Dave Keuning (lead guitar, backing vocals), Mark Stoermer (bass, rhythm guitar, backing vocals) and Ronnie Vannucci, Jr. (drums, percussion).

The view from Level 4

What followed was two hours of music that took the audience on a journey of the last 15 years. Starting with the title track from the new album, and then racing back to Sam's Town with the much-loved 'Read My Mind', Flowers' left little room for a breather between each song. 

'Jenny Was a Friend of Mine' was well received, and 'Somebody Told Me' got the whole crowd screaming along. It really did feel like I was listening to my Killers-filled iPod on shuffle for two hours. Live, Flowers' voice comes across excellently.

The staging saw Vannucci drumming on an elevated platform at the back. He was a spectacular tour de force, at one point actually climbing onto the kit itself. Seeing as they formed in 2001, the band are seasoned rock stars by now.

Also on stage was: a rusty water tower with 'London' emblazoned on the front, three female (Venus) symbols for each backing singer, a male (Mars) symbol in front of Flowers, and two huge neon arrows. Add to that multiple confetti canons and projected images of cowboys. Old-school Killers had certainly come to town.

Luckily NME got a better photographer. Image Credit: Rob Loud, NME

Before playing, 'All These Things That I've Done', Flowers' explained the inspiration for it came from Lou Reed. When he was working at a Las Vegas casino, he would try to imitate Reed's iconic vocals, ultimately ending up humming 'Don't you put me on the back burner'.

The Killers' set came to a close with the incredible 'When You Were Young'. For the encore, the band invited New Order's Bernard Sumner on stage to perform 'Bizarre Love Triangle'.

The evening concluded with 'Human' and then, of course, 'Mr Brightside'. Whether you like it or not, no Killers set would be complete without it.

Overall, every song was excellent. There weren't even too many people desperately filming every second on their phones. For two hours, the audience was definitely smiling like they meant it. 

I'm searching far and wide to find a planet to orbit: Enter Shikari, London, 25/11/17

Five albums down, Enter Shikari show no signs of stopping. Since the 2005 release of their post hardcore, punky first album, Take to the Skies, the four piece have constantly evolved.

Their latest album, The Spark, showcases another change for Shikari. While still heavily politically charged, certain singles are much 'poppier' than previous releases. 'Live Outside' has been played regularly on Radio 1, whereas 'Mothership' probably wouldn't have made the cut.

The four piece headed to London's beautiful Alexandra Palace to promote the The Spark, and it was certainly an explosive evening. Support came from Astroid Boys and Lower Than Atlantis.

Proceedings kicked off with 'The Sights' from the new album, followed by 'Solidarity' and 'Anything Can Happen In The Next Half Hour...' from Common Dreads and Take To The Skies, respectively.

Rou everywhere!

After an intense mix of songs from all albums, lead vocalist Rou Reynolds and bassist Rob Rolfe seemingly disappeared. They were found standing on the lighting rig, however, and a beautiful rendition of 'Adieu' ensued.

Moments of respite are brief at a Shikari gig, however, and soon enough Rou announced a 'power round', where they were going to play four songs in eight minutes. BPM sky-rocketed with an intense mix of 'Sorry, You're Not a Winner', 'Sssnakepit', '...Meltdown' and 'Antwerpen'.

If that wasn't enough moshing for anyone, Shikari then went straight into 'Zzzonked' and the crowd went wild. (My glasses fell off!) True to form, the crowd was energetic but kind, stopping to pick up anyone who fell down or felt uncomfortable.

Just as the gig started with a track from The Spark, the final song was 'Live Outside'. In today's awful political climate, we need lyrics that voice both our disappointment and our desire to change. 'I'm going to live outside of all of this now'.

Cause I've been waiting on you: Future Islands, London, 21/11/17

'Are they a new band, then?' asked someone in the audience. Far from it. The members of Future Islands have been performing electropop music together for over ten years. Lead singer Samuel's reputation precedes him, his energetic dance moves make the crowd wonder how his knees haven't given up yet. 

It was with great excitement that Future Islands headed to London to take over Brixton's O2 Academy for three days this week. Samuel told the crowd that it was the biggest show they've ever done to date. This tour is in support of the band's latest album, 'The Far Field'. And look how far they've come...

With a huge back catalogue to choose from, it was good to see the band didn't solely focus on their new record. Instead, many tracks came from 2013's 'Singles' album, which arguably propelled the synthpop trio to stardom. Future Islands today are Samuel T. Herring (vocals), William Cashion (bass), and Gerrit Welmers (keyboard).

The set started with 'In the Fall' from the 2010 EP. Then we entered 'The Far Field', in which 'Ran' was particularly successful. If you haven't seen the music video yet, I highly encourage you to do so.

There was a good mix of tempos during the set, allowing Samuel to take short breaks from his grooving. After 'Balance', 'Long Flight' was well received and got the crowd dancing. When the lead singer is clearly enjoying himself and is care-free, the crowd are more inclined to act in a similar way.

From left to right: Samuel, Gerrit, William

Often an artist relies on funky backing images to enhance a performance, but Future Islands simply had a white screen behind them. It reflected the stage lights effectively - and at one point blinded me - but meant the focus really was on Samuel and his interaction with the crowd. 

One memorable act was during 'A Song For Our Grandfathers' where he seemed fully lost in the moment. As he ended the song with 'I hear the ghost whisper / And those old eyes watching me / But I feel safe,' he stopped moving and raised his hand up in the air.

Aside from his dance moves, Samuel's vocal range must be mentioned. On the albums, it's clear he can quickly change from a relatively high pitched note to a guttural howl, but in person this was hugely amplified.  

Future Islands in their element

My particular highlight was the final song, 'Fall from Grace'. When the song reaches its climatic scream 'Before you go, please tell me / "Was it all inside of me?", the stage went black apart from a single spotlight on a kneeling Samuel. It was incredibly atmospheric and a perfect ending.

The show is very much centred on Samuel and his dancing, but praise must also be given to William and Gerrit. William in particular kept a stoic expression throughout the entire set, only smiling when we applauded at the end. I think he enjoyed himself, really.

Future Islands are quite a crowd pleasing band. If you simply want to dance along to the synthy beats, you are more than welcome to. If you stop to listen to the lyrics, however, a chill runs down your spine. 

Album review: Autobahn - The Moral Crossing

Leeds based quintet Autobahn released their second LP on 3rd November. Short but perfectly formed, The Moral Crossing takes the listener on an angry post-punk journey.

Bought from Drift record shop, Totnes

With cheerily named tracks such as 'Obituary' and 'Torment', the band are a perfect soundtrack for the disillusioned youth (or simply population) of today.

The first track, 'Prologue', sets the scene with angry guitar riffs, but it is only in 'Obituary' that we get the first taste of Craig Johnson's vocals. 'Take it from me, you'll all be forgotten / So I sacrifice myself'. A haunting chant ensues. Welcome to Autobahn's second album.

As the record develops, you find yourself noticing influences ranging from Joy Division (with 'Future' and the title track) to Animal Collective.

A particular favourite song would be 'Torment' with its female-spoken French lyrics and immersive, almost choral supporting noises. The song doesn't get quite as intense as the others, so provides a brief moment of respite.

'Execution/Rise' is certainly intense, however. With a duration of 3:43, it is one of the shorter tracks, but its repetitive chorus works you up into a trance-like state.

While the album does remind the listener of other artists, this is certainly not a negative point. For a band with just two albums under their belt to be likened to heavy weights such as Joy Division and The Cure, they must be doing something right.

Listen to the album on Bandcamp here.

Fed up of watching a gig through a phone screen?

We’ve all been there. Your favourite artists announces tour dates, you get tickets, get excited, and then as the show starts you find yourself watching the majority of it through various smartphone screens. Try as you might, it’s almost impossible to ignore the sea of glowing rectangles.

Many performers have tried to prevent this smartphone crisis. At Kate Tempest’s recent concert in London, she demanded the audience to pay attention to her, rather than their phones. This was successful, and even resulted in audience members themselves policing the venue. Many people were tutting – this is the UK after all - at those who ignored her instructions.

However, one San Francisco-based company, Yondr, has decided that there is only so far politely asking can get you. The company has developed a somewhat drastic solution to give artists, organisations and individuals the tools to create phone-free events and spaces. Its purpose is simple: ‘to show people how powerful a moment can be when we aren’t focused on documenting or broadcasting it’.

We are beautiful, we are doomed: Los Campesinos!, Mirrors Festival, London, 28/10/17

For a few years Mirrors Festival has been a day event showcasing the best of indie music which takes place in Hackney, East London. Previous acts to grace the stage have included Bats For Lashes and Rhye, and this year Los Campesinos! and Pinegrove were headlining. 

The first thing to note about Mirrors is the venue locations. There were four in total: one 'stage' was above a vintage clothes shop, another at the excellent Moth Club, the third in Oslo Hackney and finally at St John at Hackney (which is an actual church, fyi). 

I spent the majority of the festival in St John at Hackney, eagerly anticipating my third LC! gig of the past year. 

With the exception of compulsory carol services during my school years, this was the first time I've seen live music in a church. And it was really, really good.

Ultimate Painting took to the stage at 6:45. Their set effortlessly mixed genres; what started as gentle guitars transcended into an awesome amount of sound. 

Ultimate Painting take on the church

Certain songs gave off an early Oasis vibe, which was perhaps helped by the fact the band is made up of two guys - Jack Cooper and James Hoare. (However during their live shows they are joined by Will Young and Juan Jacinto, so maybe my analogy doesn't help...)

A personal highlight was Central Park Blues, which really reminded me of Courtney Barnett - a big plus. 

Ultimately, Ultimate Painting were a lot of fun, and whet the crowd's appetite for the imminent arrival of Los Campesinos!

Throughout the evening, I got the chance to chat to both Kim (vocals, keyboard) and Gareth at the merch stand. It is so lovely for a band to have such a close relationship with its fans. While proudly clutching my fifth LC! t-shirt, I asked a few questions about the show, and also a few literary questions...

Gareth admitted that the acoustics hadn't been great during sound check - an empty church doesn't lend itself to indie rock - but by kicking off with the loudest rendition of For Flotsam that I've ever experienced, it was clear that Los Campesinos! were going to perform a show to remember.

Incredibly intense guitar solos, light displays that would rival Aphex Twin himself, and mosh pits ensued over the course of the next hour. I loved every minute.  

It's quite hard for a band boasting six albums - and a huge amount of unreleased crowd favourites - to please everyone in one hour, but LC! tactfully played a selection of songs from each era. 

Los Campesinos! + pretty cool lighting = great evening

Here's To The Fourth Time was a particular highlight. Gareth unleashed a guttural scream which then reverberated around the entire church. (Not your usual Sunday service). 

A whirlwind set culminated with an epic performance of The Sea Is A Good Place To Think Of The Future. The lyrics 'But you could never kiss a Tory boy without wanting to cut off your tongue again' were screamed by the entire crowd, what a beautiful moment.

I do wish they'd played Who Fell Asleep In, 'She turned her back on the church and put all her faith in me' would have been particularly poignant given the location.  

When the set was over, Gareth said they'd temporarily head back to the merch stand until Pinegrove started. I only recently found out the bands are friends (or at least mutually respect each other a lot), which is nice. You can read an interview with both bands here.

I can't finish this post without saying a big congratulations to Kim, who is pregnant! I didn't think she'd be performing last night, but she was just as passionate as ever. Looking forward to seeing Los Campesinos! return in the new year, but until then I'll make do with my funky new t-shirt. #lc4lyf

Can't get you out of my head: All We Are / Nick Mulvey, London, 17/10/17

Following my recent promise to get to gigs earlier, I turned up to the Shepherd's Bush Empire at 7:30pm on Tuesday. I'd agreed to see Nick Mulvey with a friend who's a big fan, but didn't know who would be supporting.

All We Are are a trio who formed in Liverpool in the early 2000s. The drummer - Luis Santos - also happens to be my friend's cousin (small world). They produce a dreamy indie pop sound which transfixed the crowd for 30 minutes.

Bassist Guro Gikling was particularly impressive, the way she moved her feet gave the impression she was floating in time to the beat.

From left to right: Luís Santos, Rich O'Flynn, Guro Gikling 

For the final song, 'Dreamer', a guitar and keyboard were added to the mix. The result was a magnificent amount of noise which I hoped would be replicated in Mulvey's performance.

This wasn't the case. In his trademark black beanie hat, Mulvey was the epitome of zen, casually strumming on his guitar. This wasn't in itself a bad thing, but seeing as I spend the majority of my time at sweaty punk gigs, it was certainly a change to usual.

Following the release of his second record, Wake Up Now, Mulvey played a selection of folky songs from both his first and second albums.

Nick Mulvey takes centre stage

Radio-favourites 'Unconditional' and 'Fever To The Form' went down a storm, with the audience singing along word-perfectly. After singing the first verse of 'Cucurucu', Mulvey stopped, smiled, and said he'd like to start again because the response was so beautiful.

With lyrics about peace, childhood, and nature, Mulvey transported the audience to a worry-free world. Gone were the worries about work or news, it was simply impossible to be stressed.

The lighting also added to the experience. As the set drew to a close the stage was completely dark apart from a single horizontal beam of bright light. Looking too intensely at the stage was painful, so you had to fully focus on the music.

My personal highlight was an adorable older lady standing to my right who danced throughout the entire set.

In conclusion, Mulvey captivated the crowd with his guitar and peaceful attitude. Sometimes that's all you need at a concert.