Metronomy @ Nottingham Rescue Rooms, April 14/04/2011

April 18, 2011 by  

After a heavily delayed start due to technical difficulties, the tentative crowd waited anxiously before being warmly greeted by support act Ghostpoet. The delayed start had a knock on effect and meant he had to cut his set short, which was a real shame as his scatterings of minimal abrasive beats coupled with woozy guitars were a winning combination. Ghostpoet masterfully dominated his various masses of electrical equipment, like a salty sea captain steering his boat safely back to harbor, casually flicking switches and confidently striking his plush MacBook. Set finisher/hit song “Cash and carry me home” was greeted with the biggest cheer, as a repetitive haunting synth allowed Ghostpoet to unleash his slurring lyrics, which seem to represent drunken ramblings, but as his frequent sipping of the mineral water proved, Ghostpoet was very much a sober man tonight. Before Ghostpoet left the stage he graciously admitted “Well thank you very much Nottingham, I wasn’t even going to turn up tonight but I’m really glad I did now, you’ve been smashing”. Well Ghostpoet, I too am glad you showed up tonight, as your set was rather exceptional.

Metronomy were on next and they entered the beer soaked stage in rather dramatic fashion, as the rescue rooms was masked under a veil of darkness, which was to be broken by the circular doctor surgery-esque lighting that each member of the band sported on their chest. They started frenetically, flashing in sync with each other as the opening gambits of ‘Love Underlined’ started to fill the stale air, which managed to leave most of the crowd feeling rather dumbfounded.

The excitement of having a new album out a matter of a few days beforehand, seemed to have gotten to lead singer Joe Mount, as his frequent babblings in between songs offered some hilarity to proceedings. A prime example of this was when he noticed his laces were undone, and then proceeded to give a speech on how it was a matter of utmost importance that he tied them up immediately, and so to fill the time he ordered the synth player to play his electronic saxophone, rock and roll!

Bassist Gbenga Adelekan wholeheartedly threw himself into every song, frequently strutting his stuff and unleashing his award winning smile to the unsuspecting punters, this is proof that he has easily picked up from where previous bassist Gabriel Stebbing left off, as songs such as ‘Heartbreaker’ have lost none of their growling intensity and if anything sounded as fresh and vibrant as ever, and his teaming up with Oscar on backing vocal duties to produce some startling high pitched harmonies were also particularly impressive.

Metronomy achieved the delicate balance of playing new and old material in the right amounts, and the frenzied crowd were gratefully lapping up every last note. The purring synthesisers of current single “She Wants” combined with the ambient lighting that Joe Mount ordered courtesy of the lighting engineer, offered a rare opportunity for some brief respite for the baying crowd who were beginning to make the lone security guard look increasingly anxious. A well-received song off of the new album was “Corinne” which contained some spectacular ping-ponging drums that were encompassed by a heftily chugging bass line and an occasional dousing of tinkling guitar.

On this current rich vain of form, Metronomy look to be a rather enticing proposition for the forthcoming festival season.


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