Originally posted on Goldenplec.
Monday February 18th 2013, Whelan’s Dublin.
Monday nights aren’t known to be the best night of the week, looks like someone forgot to let Everything Everything in on that secret when they came to Whelan’s in support of their second album, ‘Arc’.
Opening up for EE were Post War Years, perfect timing for the London based quartet as their new album, ‘Galapagos’, is just about to be released. As the venue was filling up quite quickly, it gave them the opportunity to show off their wares and they made sure they took the chance with both hands. They introduced themselves with an instrumental, the title track from their album, a beautiful build up of instrumentation. As they move into ‘Glass House’, a couple things become very appartent about the band. They have a great layered sound and this is fuelled by the rhythmic playing of Fred McLaren. The other most obvious stand out is the strength of the vocals. Yes, they do have three vocalists, swapping lead but they compliment the music beautifully and cut through to leave something pure. It’s a strong set with packed aural delights. Indie kids will like them, dance/electronic kids will like them, expect to see them at lots of festivals this Summer.
As Post War Years end their set, the sold out venue is getting to the ‘get to know your neighbour very well’ stage and despite a thirty minute wait, the audience are in good spirits and are definitely up for it.
Without fuss or fanfare, a rather smart looking Everything Everything come onto stage and immediately start off with ‘Kemosabe’, the Whelan’s crowd are immediately into it, singing every word. Sometimes at live gigs, it can take a band a few songs to settle in and feel at one in the venue, EE didn’t have this problem at all. Wry smiles and knowling glances from the band to each other indicated they knew this was going to be special. ‘Torso of week’, an album track from Arc, confirmed this. Singer, Jonathan Higgs, didn’t need to stretch his vocals too music as the collected assemble were doing a fine job of that.
Since the release of their debut ‘Man Alive’, the band have been building up a steady following with their art school indie rock. Just to prove it, the audience are as into the frantic paced ‘Qwerty Finger’ and more subdued ‘Final Form’ as any of the material from their UK Top 5 ‘Arc’. The cheers after each song just keep getting louder.
The band acknowledge this on a number of occasions and mention how cool it is for them to hear their lyrics sung back to them. After ‘Schoolin’ saying how Whelan’s is ‘one of the best venues we’ve ever ever played’. There’s an indoor festival feel to the night, people on other’s shoulders singing and reaching towards the stage like their lives depended on it. It’s not just the crowd reaction to their music that made tonight special.
Listening to EE on record, their production and instrumentation is big layers and complex. In this live setting, they’re joined by a fifth member so you’ve still got all the synth and electronic sounds, but the band perform wonderfully and their live sound is honed to perfection. They’ve struck a balance and have a great live band sound. Throughout the night, there are things one may not even normally notice in their music, brilliantly subtle guitar licks, what can only be described as demon bass playing from Jeremy Pritchard and beautifully controlled drumming. Together, it’s EE’s sound but live it’s then we can appreciate each member for what they bring to the party. They’ve just got it.
And it is a party, Higgs swaps his guitar for drumsticks and a floor tom and ‘Cough Cough’ is announced as the last song of the night. The audience and the band on stage are both giving as much as each other. After that, there’s no way this could be the last song. After a quick breather the band are back on for ‘MY KZ, UR BF’, the song that got them into people’s consciousness. They finish with the instantly accessible and very danceable, ‘Don’t Try’. On this live performance, ‘Don’t Try’ could be one of the hits of the Summer and Everything Everything should be band of the year.
Post War Years
When a band or artist you admire are about to deliver a new album, there is always an element of nervous anticipation. When it’s a sophomore album, there are the obvious ‘difficult second album’ cliches and a genuine wonder if they can live up to the hype that surrounded a debut release.
It was just a couple of weeks ago when we heard