Pazartesi 1 Mar 2010, 9:49
Convention Centre: 1.3.10
It’s evident enough alone, from the hordes of young girls with an unnecessary amount of navel showing, that French electro-pop rockers Phoenix have crossed over from the musician’s band of indie heroes to that hip-as-fuck pop band that Nova are probably flogging to pieces.
But first we must endure Miami Horror who provide nothing more than bland electro-pop with a four to the floor dance beat and a bunch of unmemorable melodies. ‘Don’t Be With Her’ sounds like they’ve been listening to far too many Prince records, namely ‘When Doves Cry’ while ‘Sometimes’ closes the set and is the most memorable thing by far.
The opening guitar-plunks of ‘Liztomania’ are soon heard from the darkness and deafening screams fill the room as the almost-tribal drums get virtually everyone bouncing. The six band members are instantly professional, delivering note for note, beat for beat, synth-stab for synth-stab with meticulous precision and ultimate gusto from each and every member. Aside from the instantly captivating presence of frontman Thomas Marrs, drummer Thomas Hedlund in his black-and-white striped, jailbird t-shirt is mesmerising as he virtually leaps through each and every beat. Next to him is keys/percussionist Robin Coudert who provides all the extra parts that the studio members of Phoenix don’t do themselves on stage.
The hour-and-a-bit long set is flawless, brimming with the energetic hits and excellence lifted from their latest Wolfgang Amadeus Phoenix album. Early highlights like ‘Long Distance Call’ and ‘Lasso’ get the crowd jumping before the disco-funk of ‘Run Run Run’ and ‘Fences’ turns the mood sexy. The instrumental centrepiece of ‘Love Like A Sunset’ sends piercing bass through each and every person while the 1-2-3 punch of hits ‘Too Young’, ‘Consolation Prizes’ and ‘Rome’ provides enough epilepsy-inducing strobe, smoke and vertical LED lights to satisfy even the likes of Coldplay.
The encore is stunning with just Mars and guitarist Christian Mazzalai reappearing for quiet renditions of ‘Everything Is Everything’ and ‘Playground Love’, an Air song Mars lent his vocals for back in 2000. ‘1901’ closes the set, becoming even more epic than the recording with flocks of kids rushing the stage at Mars’ invitation to dance to the closing bars. The set tonight is short but feels complete with Phoenix proving to be charming French gentlemen, the ultimate showman and, to put it quite simply, one very fucking rad band!