Abel Tesfaye's dark, twisted album is at odds with the glossy pop world he's been thrust into
…and the best non-NME Awards show at Porchester Hall, London (February 12)
Garvey is, quite simply, one of the greatest, most consistent songwriters this fair isle’s ever produced – and tonight’s set is one deceptively dark indie-pop starburst after another. In among the immaculate classics – ‘Switching Off’, ‘Red’, ‘Newborn’ – it’s the new songs from forthcoming fourth LP ‘The Seldom Seen Kid’ that impress the most. ‘Grounds For Divorce’ is a hulking, gargantuan rock departure, while the shimmering, swooping orchestral-tinged ‘One Day Like This’ sees Garvey lead the crowd through a gospel-style singalong that belies the fact it’s the first time it’s been played live. It’s the chuggingly euphoric ‘The Loneliness Of
A Tower Crane Driver’ that truly makes the case for ‘…Kid’ being Elbow’s career best, however – sounding like the monster in Cloverfield having a moment of clarity and bursting into tears after realising how much devastation it’s caused.
In truth, tonight there’s nothing new or classier about Elbow – they still look like portly, drunken binmen. No, there’s just a set of spellbinding songs that keep them stratospheres above the majority of modern British rock groups.
The Cavan teenagers attack album two with abandon, largely at the expense of quality
A still-vital John Lydon rages towards retirement on a saucy, scuzzy new album
10 Tracks You Need To Hear This Week (26/8/2015)
Oxford's finest flit between gnarly rock and frustrating slickness on an often-brilliant fourth album