Editors
London SSE Wembley arena, 28th February 2020
I swear to God, in this light and on this evening,
London's become, the most beautiful thing I've seen
Editors, 2009.
Fifteen years ago, yes, you read that right, FIFTEEN years ago, way
back when I still had most of my hair, I reviewed my first Editors
gig at The Junction in Cambridge for this here very R*E*P*E*A*T* fanzine.
I think it was even physically printed onto paper back then. As usual,
I digress...
Editors are currently winding up a massive European tour playing arenas
and their largest venues to date promoting their new Best Of package
Black Gold, so named after one of three brand-new (and
pretty excellent) recordings made for the collection. Black
Gold gives a great overview of the band taking in all eras in
pretty much equal measure. Often still mis-labelled as shoegazing
gloom panderers, Editors have more than outgrown this early phase.
Strip away Toms vocals from recent tracks like Hallelujah
(So Low) or new cut Frankenstein and youve
got something approaching early Nine Inch Nails industrial techno
going on. Obviously, this is a far cry from the first couple of records
which were undeniably in the vein of Joy Division, Interpol and Echo
and the Bunnymen. This then is one of Editors greatest strengths
they have not been afraid to evolve and to innovate. Imagine six albums
worth of The Back Room? God, that sounds too bleak to
contemplate. Third album In This Light and on This Evening,
particularly lead single Papillon, was very much a gateway
to Editors v2.0. Since then theyve continued to change with
each release (although to be fair, we probably could have done without
the attempt to sound as U2 as possible on The Weight of Your
Love).
This love of innovation and change is clearly apparent in their live
shows too. Now, of course, bigger venues allow more lighting and stage
trickery to take place, but this show does indeed look great. The
band are permanently almost hidden in dry ice with the red, green
and orange lighting often focusing on just Tom Smith as he stalks
and slithers around the stage like a well-dressed Iggy Pop. Speaking
of change, perhaps in their erstwhile frontman is this most apparent.
During The Back Room era I remember Tom Smith being rooted
to the spot, hiding behind his guitar, almost never even daring to
make eye contact with the audience. Tonight, he is a man transformed.
This Tom Smith is a supremely confident, swaggering, slinky, rock
pro frontman. Hes not just the singer. Hes
the whole sound, look and feel of the band encapsulated into one mega-ultimate-popstar.
As one would expect on a Best Of tour, people are here
for the hits. So, lets get on with it.
Let the nostalgia begin! The opening salvo of An End Has a Start,
Bullets, Bones and Escape the Nest
take us right back to those first two albums. And they are all bangers.
Any concern that they might exclude this stuff in favour of more chart-friendly
modern tracks goes immediately out of my mind. The band seem to enjoy
playing these older songs as much now as they did over a decade ago.
Moving on from this, the next section kind of goes towards the more
modern hits era. So Magazine and Sugar sit
comfortably with newies Frankenstein and Violence.
My only potential gripe is that there are a couple of tunes, notably
Upside Down and Ocean of Night which pander
slightly towards the new modern group chanting enlightenment Imagine
Dragons type crowd. Which is... fine. If thats your thing.
Mid set, the band throw out Papillon. Really, this works
best as a main set closer but here it is slap bang in the middle.
And it is GIGANTIC. As the synths build to the crescendo of it
kicks like a sleep twitch! all of Wembley becomes unhinged over
and over again. Its pretty incredible. Shortly after this, the
rest of the band leave the stage for Tom to give an acoustic version
of No Sound but the Wind, a song dating as far back as
2008 but finally getting a proper album release on sixth album Violence.
Its a tender moment which allows the crowd a break before the
second half of the show.
The Radio 2 era is represented next with A Ton of Love
and Formaldehyde which seems to be the only real time
I think the band have compromised their sound for commerciality. After
this, its the home run of straight up classics. All Sparks,
Blood and Fingers in the Factories take us
all the way back to the band's origins before the final main set closer
of early B-side You are Fading (for probably the last
time once this tour wraps up).
Encore time and its a rare outing for The Back Room
album closer Distance which immediately feels just as
frail but huge at the same time as it did 15 years ago, before the
band became the slick professionals they are now. Then its a
home run of The Racing Rats, Munich and bleak-goth-singalong
Smokers Outside the Hospital Doors. And as the ten thousand
odd people in Wembley sing back at full gusto Weve all
been changed from what we were / Our broken hearts smashed on the
floor you kind of get the idea that this crowd will all be eager
to see where the band go from here.
And yeah, this feels like a good time for Editors to do the The
Greatest Hits thing. For once, it doesnt seem like a cynical
cash-grab following a career slump unlike some band that I wont
mention. It seems like a celebration of 15 years and six albums (two
of which were UK number one albums) and a kind of full stop on this
chapter of the band. I look forward to hearing what comes next.
Words - Richard Bull
Pix - https://www.theupcoming.co.uk
Editors played
An End Has a Start
Bullets
Bones
Escape the Nest
Magazine
Sugar
Upside Down
Violence
Frankenstein
Papillon
Ocean of Night
No Sound but the Wind
Spiders
A Ton of Love
Formaldehyde
Eat Raw Meat = Blood Drool
All Sparks
Blood
Fingers in the Factories
You Are Fading
-----------------------------------------
Distance
The Racing Rats
Munich
Smokers Outside the Hospital Doors