London Grammar - O2 Apollo, Manchester.
Prog rock band, Lo Moon supported. Probably easiest described as a London Grammar clone but with a heavier guitar focus. Inflections of 80's style synths were abetted by formulated bass double strokes, tom rolls and reverberated snare hits - a distinct style delivered by drummer. The instrumentation evidently plays a lead role in the effort for this band’s success as a supporting act for London Grammar on tour. The spacious, minimalist style of play accompanied with alternative snare samples and synths makes them sound like a band that a lot of people can’t get enough of… so, good for them that they get to play to those people for a tour’s worth. The rest however was senseless sensation, lyrics mostly unintelligible and not worth googling. Lo Moon were the correct context for the evening, but they will struggle to earn relevance or distinction if their purpose never surpasses the pursuit of dramatic ambiance.
A fifteen-minute interval sees the bringing forth of London Grammar’s compact setup. Walls of launchpads, synth boards, acoustic and electric keys stand between each group member’s designated space onstage. The largest space was devoted to multi-method beat provider and instrumentalist, Dot Major. Darkness ensues, a sea of phones rises to greet the band as their people scream. Three musicians walk in the stage’s twilight, they stand, ready - beyond a bright burning sphere that sits still and proud as Hannah Reid floods the room acapella, every fibre haunted as she sings “…And my darlin', I'll be rooting for you.” Her voice swept and brushed aside every foot that stood to her attention, not only astounded in the vast range that she delivered in that one song, but the strict consistence and passion that she applied to every note explored throughout the evening and surely to every other she commands. Her talent is what stands at the centre of her showmanship and the care that she devotes to the music is what communicates her appreciation most powerfully.
‘Flickers’ followed, this gave room for the other two to prove that London Grammar is band effort and, so they did. Alteration of the initially mellow choice of song came in the form of trance-like tones and Dot Major switching to acoustic drum kit as the song builds – effectively applying more authority to the song. Slick fingered Dan Rothman painted a colourful display of harmonics and harmonies between his Fender guitars and his microphone. Quite useful, also is how he reminded Reid of the last time they visited Manchester at Park Life Festival. Nonetheless she expressed remorse for the duration of time taken since finishing their previous album tour and releasing ‘Truth Is a Beautiful Thing’. It’s evident the time spent was worthwhile as her voice and their complexity has been harnessed evermore. They said they were also grateful for the opportunity to be touring the UK again. Unexpected, was how their creativity reaches beyond what’s produced from within a studio. Their honesty is expressed when live, not just through mastery and instrumentation but in composition too. ‘Non-Believer’ tells of “what we are” and the difference in “what we need”. A curtain of rose gold pulses open to the beat of the music and splashes of smoke breach the light as scenes of industrial pollution are projected behind. Visuals also included soundwaves that merged into a horizon of trees and collaged mountain ranges. All, tangible as the majesty of the song writing that delivers messages of strength through loss, beauty through harshness light through darkness. Truth is a beautiful thing. The truth often highlights imperfections and one was forgiven after London Grammar returned for the encore. Hannah Reid had to stop and shout
“Wait! Stupid encore and I went and fucked it up…” and muttered more self-depreciation from under her breath.
This music and this performance is as honest as the words that Hannah gave back to their adorers
“Thank You”.
Photography by Kate Gentry