Wild Palms are the support act tonight, but judging from the breadth of their sound and the appreciation they get from the crowd, they're anything but an act we just have to ‘tolerate’ before the main event. Synths are everywhere as are flickering staccato guitars which, mixed with lead singer Lou Hill’s low pitch, prop them somewhere nicely in the middle of Interpol and Delphic. Hill is an endearing frontman; shy and outgoing all at once with a slightly awkward, one-armed-loopy-hand dance that teenagers do when the go to raves for the first time. Upcoming single ‘Deep Dive’ is predictably ace, and would have definitely found itself on this Best of 2010 list had it been on Spotify.
Twilight Sad lead singer James Graham doesn’t dance; then again, throwing shapes would be fairly inappropriate for his bands feedback soaked, gut-wrenching soundscapes. They are a funny proposition, with none of them (other than Graham) making any deference to the fact that there are several hundred people watching them, who have paid to watch them, no less. Some of them even turn their backs to the crowd, an action that would normally have me heckling, demanding my entrance money back and making dark baseless promises about a Twitter campaign. But it works with them, it focuses attention; onto the music and onto Graham, who is one of the most engaging frontmen you are ever likely to see. On ‘Walking For Two Hours’ he jerks and stumbles around the stage, out of time and seemingly possessed by the interminably huge sound his band are making. It’s gripping, and as he howls ‘and you’re so far from home’ into the mic in his dense Scottish brogue it seems we are watching (and please bear with my pretentiousness here) genuine musical transportation; someone that loves and believes every word sang, every note played, despite the internal strife he appears to be going through during the presentation of it.
The fans are clearly devoted and reverent in the attention they give the band; The guy next to me is with his girlfriend and spends the entire gig standing behind her with his arms round her hips, his eyes closed and body shuddering and twitching against her. In another situation I might have suspected some sticky foul play, but here it’s clear it’s nothing other than a very real love for these tortured HIghlanders.
Things lighten up in the middle- there’s less 5 minute reverb baths, more hooks and melodies. In the context of a gig its probably important to give the audience a period where there’s more to bob your head to, but I don’t think this stuff’s quite as affecting as the droning symphonic black holes that drive and define songs like ‘And She Would Darken The Memory.’ It is at the drops of the almost-painful hums of feedback, when the band as one jump in headfirst and drums, keys and guitars crash together that heads are shaken, eyes rubbed, lips pursed and blown. It’s the musical equivalent of coming up on ecstasy; the moment when your mind catches up with your body, realises that something different is happening and you have very little control on it.
They end on ‘Cold Days From The Birdhouse’ and there is a rush of mass relief from all watching. Fortunately the band fulfil everyone’s expectations of their most well known tune and, bathed in a red light that mirrors the ‘red sky at night won’t follow me’ lyric, they slowly slip off the stage one by one until it is just Graham, straight-backed and staring intently over our heads and lost in his very private world. It’s a fitting end and ensures the lead gets the applause he so richly deserves as he drives The Twilight Sad and, regardless of whether you listen to their music regularly (I don’t), they are one of the most involving and effecting live acts you will ever watch and, frankly, if you aren’t moved by them you might as well fuck off and die.
Posted In Live Reviews, May 06 2010.
Words - David