O2 Academy, Brixton
“Thank you for this bit of light.”
Brixton Academy re-opens its door to shed light on the 20th anniversary of one of indie-rock's folkloric records, Funeral, as Arcade Fire look to mark the occasion with a righteous bang, rather than a whimper.
Since the release of their debut LP in 2004, the popular indie scene has transformed drastically. Gone are the wailing "woahs" and rallying choruses, abrasive string quartets and tip-toeing xylophones, not to mention the undulating percussive range which provided the backbone for much of its resonance. Yet, courtesy of the mystical elixir of nostalgia, we return to revisit such a landmark record which helped shape and define this very scene exactly 20 years prior, in spite of the terminable death many of the aforementioned sounds ultimately met.
None better typifies these sounds than the triumphant pronouncement of this record than the three increments of ‘Neighbourhood', imminently unleashing a foray of reminiscent sounds as the red curtains on-stage are drastically drawn. High-octane vocals, bass-driven riffs, steady rhythms and elaborate string sections bolster frontman Win Butler’s interminably intrepid lyrics (“Then I’ll dig a tunnel from my window to yours”) alongside Régine Chassagne’s omnipresent backing vocals for emotional support and guidance.
This larger-than-life, monolithic aura continues to crash over its audience like one anthemic tidal wave after another. As the latter parts of 'Neighbourhood' come to fruition, an eclectic depth is marked by the gliding string sections and booming percussion which transform Butler’s emotive, yet optimistic lyricism (“It’s for your own good / It’s for the neighbourhood”; “I went out into the night, I went out to find some light”) into an impermeable, soul-searching rendition. Such cries are reciprocated by tonight’s crowd who swell together in their collective determination to conquer the ever-imposing restrictions of modern suburbia.
Whilst such wailing and reciprocal “woahs” from the crowd prove an indelibly aged pastiche from this era (notably ‘Wake Up’ and ‘Rebellion’), both Butler and Chassagne bolster one another impressively throughout. Beyond these monolithic sounds, Chassagne’s higher-range vocals remain instantly recognisable and necessary against Butler’s interminable yearning from life and love’s tribulations (“If you still want me, please forgive me / The crown of love has fallen from me”). Much like Arcade Fire’s contemporaries of this period (Sufjan Stevens, DeVotchka, Neutral Milk Hotel, Andrew Bird), these conglomeration of voices and choruses continue to bring an almighty powerhouse to any given venue, on any given day, in any given anniversary; particularly in the sweat-induced heat of tonight.
Most impressively, and perhaps ironically too, it’s Arcade Fire's later LPs which gift a weightier worth in gold, from 2007’s Neon Bible to 2010’s The Suburbs. As an evolved and more mature evolution of their repertoire, ‘Keep the Car Running’ and ‘All Cars Go’ elicit a more upbeat vengeance on escapism; plush with synth lines permeating this monolithic backdrop. Yet the quintessential record for such suburban escapism, The Suburbs, explodes with a more refined approach to guitar-driven riffs as Brixton’s sold-out audience lustfully singalong to these choruses with magnanimous applause and affection.
Glossing beyond the forgettable, and frankly unnecessary, concluder of ‘Everything Now’, Arcade Fire mark such a night of celebrating their beloved Funeral with vim, vigour and vengeance. Despite its superfluous nature in parts, the transcendental nature of such a record evidently shines on; etching further its own name in indie folk-rock folklore in the midst of this sold-out show. Proceeding a somewhat tumultuous time within the band, specifically allegations against Win Butler, they’ve pulled together once more: alighting a rendition of their greatest hits through their tenure; ripening sweetly in the years since as they continue to bear the greater fruits of escapism.
8/10
Arcade Fire's debut LP, Funeral, is out via Sony Music Entertainment and can be found below.
Photo is courtesy of Filippo L’Astorina whose work can be found here.
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