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It is a freezing cold Glaswegian evening which greets Metronomy this evening, and is a stark contrast to the warm, danceable anthems which they are renowned for. Returning to Glasgow on the back of critically-acclaimed new record ‘Metronomy Forever’, the band have cemented a solid and consistent following some thirteen years after their debut, and tonight the biggest room at SWG3 has long-since sold out.
Hotly-tipped Brighton-based Squid open the show, and the venue is already packed as they take to the stage. Showcasing material from recent EP ‘Town Centre’, they meld the avant-garde with punk sensibilities and insanely catchy hooks. Lead vocalist and drummer Ollie Judge yelps his way through the set, with the “red wire, blue wire” refrain of ‘Match Bet’ being screamed back at him by a group of devoted fans at the front. In ‘The Cleaner’ they have a bona fide indie dancefloor classic - think LCD Soundsystem if they ditched the synths – and it is safe to say that it is the best song about a domestic assistant released this decade. As they end on the superb recent single ‘Houseplants’, complete with improv interlude, the reaction from the crowd suggests they’ll be headlining venues this size in their own right soon enough.
From the moment Metronomy walk onstage dressed in synchronised jumpsuits, with their curved backdrop draped in purple light, the crowd are at their mercy. After the chiming electro of ‘Lately’ kicks things off, the band offer up the irresistibly danceable ‘The Bay’ to get things properly going. The band are one of the most revered in the country at present, and they clearly step it up several gears live. Bassist Olugbenga Adelekan is the most visually enthralling. He pogoes with seemingly endless energy and is the veritable hype man to lead vocalist Joe Mount’s more laid-back persona. This isn’t to say that Adelekan is the only one bringing any liveliness - all five members body pop and bust moves whenever their instruments don’t require their full concentration.
The short instrumental double-header of ‘Boy Racers’ and ‘Lying Low’ are excellent and fit right at home in the clubby warehouse surroundings of SWG3. The former is a real highlight complete with urgent throb, and tubular synths, while the latter delights the crowd as Oscar Cash and Michael Lovett’s synth platforms drift towards each other as they trade disco-fuelled blows.
Taking a brief breather, Mount asks the Glaswegian crowd to recreate the sound of the Highlands (only after making a misinformed comment about T in The Park being based there). He requests ambience and animal sounds, only to be greeted with the archetypal Scottish chant of “here we, here we, here we fucking go”. The band all see the funny side, as Mount remarks “touché Glasgow”.
After the atmospheric ‘I’m Aquarius’, Metronomy spend the remainder of the show on full party mode. The shape-shifting instrumental ‘The End of You Too’ picks the pace up again before the rapturously-received ‘Salted Caramel Ice Cream’ sends everyone berserk. This is some feat given the track is only a few months old, but hardly surprisingly given the swaggering charm which oozes as the band perform it. ‘The Look’ and ‘Love Letters’ provoke joyous singalongs, before the glam-inspired ‘Sex Emoji’ riffs closes the main set. After Mount returns sans rhythm section for a drab ‘Upset My Girlfriend’, putting a brief spoiler on the atmosphere generated within the venue (which lies somewhere around fever pitch), the Devonshire quintet end with a frenetic rendition of early single ‘Radio Ladio’.
Metronomy are a phenomenal live act and thoroughly engaging for the entirety of their ninety-minute set this evening. They encapsulate the best parts of disco, electro, indie and dance to combine them into a non-stop banger-fest. They promise to return soon, and there are thirteen hundred Glaswegians who will certainly be holding them to that.
Our photo gallery of the gig can be found at the link below. All photos courtesy of Stewart Fullerton Photography:
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