Red Hot Chili Peppers have just played a swaggering Give It Away. They’ve walked off to do whatever it is they do before the encore. A few roadies move some equipment around. The cameras that have been covering the action on stage turn to the audience.
The two big screens show a sea of waving arms; close-ups of sweaty, smiling, sunburnt faces; self-conscious giggles; people who still have enough energy after 90 minutes of jumping and screaming to jump and scream some more.
Twenty One Pilots are not short on ideas.
Let’s begin with their current Takeover tour that’s, well, taken over London this week. Instead of putting on one blowout at, say, The O2 Arena, the duo are building up to Wembley Arena by playing increasingly larger venues across the city. Yesterday it was Camden Assembly (that holds 400 punters), tonight Shepherd’s Bush Empire (2,000), before graduating to Brixton Academy (5,000) and, finally, the 12,500-capacity arena next to Wembley Stadium. It’s a good marketing idea that keeps the Twenty One Pilots name out there for more than one night. More importantly, it lets the band reconnect with diehard fans — one who told our photographer that he’s been queuing outside the venue since Monday morning — even though it can’t have been easy to downscale this hyperkinetic, hypervisual show.
For Sharon Van Etten, live shows are all about “feeling connection and sharing energy“. You’d think that would be a priority for all performers. But, by the time they can headline venues as big as Brixton Academy, many prefer efficiency. At the level where the lighting cues are seemingly as important as the music, passion is replaced by precision, off the cuff chat by carefully rehearsed dialogue.
“Fuck yeah!” grins Paul Banks. Interpol have just played a blistering rendition of PDA — greeted with riotous bouncing, moshing, and a persistent crowd surfer upfront — to end the main set of a thrilling Roundhouse gig. It’s a show that almost never happened. Yesterday, only 45 minutes before the venue doors were set to open, the band tweeted: “Due to illness, we sadly have to cancel tonight’s show—it is our intention that tomorrow’s show will go ahead—we greatly apologize for the late nature of this announcement.”
On stage, Pat Metheny’s almost always stationary. He’s either looking down, face obscured by hair, coaxing his Ibanez PM signature model to sing with impossible beauty. Or he’s sitting, finger-picking an acoustic guitar with the utmost precision and grace.
More than a decade’s passed since I last saw Crowded House live. It was October 2010, according to setlist.fm, in an arena at a Cape Town casino. The band played well, and the songs sounded good. But the most memorable part of the show was the warm, casual vibe they created in a venue with all the charm of an aircraft hangar.
The Flaming Lips have a reputation to uphold. Legend has it they were signed after a record label rep caught a show where they almost burnt down the venue “with some questionable on-stage pyrotechnics”. They came up with the “headphone concert” more than 20 years ago, transmitting their live performance to audiences wearing headphones. They’ve released music on flash drives embedded inside gummies, a 24-hour song streamed on a non-stop loop, and one album across four discs intended to be played simultaneously.
On Jeff Beck’s first day recording Roger Waters’ album Amused To Death, the story goes, he showed up with a distortion pedal in his back pocket and an unplayed signature Fender ripped out of a cardboard box moments earlier. “You got an amp?” he asked. Didn’t need anything else. Just plugged in and played.
“I’m going to be honest,” singer Maynard James Keenan says before the final song of Tool’s first O2 Arena show. “I’m fucking tired. Being 58, thinking you’re 48, pretending you’re 28, it’s fucking hard work.”
The thing is, he doesn’t seem tired. And he doesn’t make it look like hard work — although even an 18-year-old would struggle to make it through the two-hour performance Tool’s just given.
“Might start writing a record & making soap,” Yannis Philippakis tweeted in March 2020, just a few days before England went into lockdown. While there’s no news on the Foals singer-guitarist’s range of bath bombs, that record is now imminent. Called Life Is Yours, it’s due next month with early reports throwing around descriptions like “euphoric”, “sunny”, and even “best of their career”.
Nils van der Linden