Editors - Guild Hall, Preston
Editors admittedly took a gamble with their third album, but five months after the release of In This Light And On This Evening, yet another sell out tour arrives in Preston; a true testament to their fans' admiration of their experimentation as a band.
The album's title track is the dark, stirring commencement of a lengthy set, followed by 'Lights' from their debut, which still has the raw energy it had five years ago upon its initial release. The crowd is rather slow to get involved in what was an arresting start (most probably due to it being a Sunday evening), but by the time the opening notes of 'An End Has A Start' are played the band appear to have fully gained control.
The industrial stage backdrop lights up for the first of only several occasions during 'Eat Raw Meat = Blood Drool'; a confrontational (but badly named) track with a surprisingly melodic chorus. 'Blood' keeps those in the middle of the crowd happy before the sublime 'Escape The Nest' allows Tom Smith's vocals to soar as high as the acoustic theatre will allow.
Surprisingly, a new song is aired tonight. Whether it was written before or after the new album was released is uncertain, but 'Last Day' could well be a future single in some shape or form. It has a similarly dark feel to their current offerings, but with an infectious pop feel which is juxtaposed by sullen lyrical content.
The main set climaxes with a trio of superbly performed tracks which speak for themselves and surely left no member of the audience disappointed: 'The Racing Rats', 'Smokers Outside Hospital Doors' and 'Munich'.
Smith returns to the stage alone for a hauntingly beautiful rendition of 'No Sound But The Wind' (inspired by Cormac McCarthy's 'The Road') which commands the silence of the crowd that it deserves. The remaining three members then return for 'Bricks And Mortar', which is seemingly inspired by The Terminator soundtrack and bridges seamlessly into 'Papillon'; the obviously single from an album which never truly set out to have any. 'Fingers In The Factories' then closes the evening in the emotive, powerful style that brought them to where they are as a band now.
The band's set list strikes a fair balance between all three albums tonight, and whilst the new electronic material doesn't always gage a strong reaction, there is a definite appreciation of an album which is (by the band's own admission) a 'grower', and this will have no doubt increased by the time their next tour begins.
The album's title track is the dark, stirring commencement of a lengthy set, followed by 'Lights' from their debut, which still has the raw energy it had five years ago upon its initial release. The crowd is rather slow to get involved in what was an arresting start (most probably due to it being a Sunday evening), but by the time the opening notes of 'An End Has A Start' are played the band appear to have fully gained control.
The industrial stage backdrop lights up for the first of only several occasions during 'Eat Raw Meat = Blood Drool'; a confrontational (but badly named) track with a surprisingly melodic chorus. 'Blood' keeps those in the middle of the crowd happy before the sublime 'Escape The Nest' allows Tom Smith's vocals to soar as high as the acoustic theatre will allow.
Surprisingly, a new song is aired tonight. Whether it was written before or after the new album was released is uncertain, but 'Last Day' could well be a future single in some shape or form. It has a similarly dark feel to their current offerings, but with an infectious pop feel which is juxtaposed by sullen lyrical content.
The main set climaxes with a trio of superbly performed tracks which speak for themselves and surely left no member of the audience disappointed: 'The Racing Rats', 'Smokers Outside Hospital Doors' and 'Munich'.
Smith returns to the stage alone for a hauntingly beautiful rendition of 'No Sound But The Wind' (inspired by Cormac McCarthy's 'The Road') which commands the silence of the crowd that it deserves. The remaining three members then return for 'Bricks And Mortar', which is seemingly inspired by The Terminator soundtrack and bridges seamlessly into 'Papillon'; the obviously single from an album which never truly set out to have any. 'Fingers In The Factories' then closes the evening in the emotive, powerful style that brought them to where they are as a band now.
The band's set list strikes a fair balance between all three albums tonight, and whilst the new electronic material doesn't always gage a strong reaction, there is a definite appreciation of an album which is (by the band's own admission) a 'grower', and this will have no doubt increased by the time their next tour begins.
No comments:
Post a Comment