Gig Review: Editors, Newcastle: 02 Academcy, 20th October 2015

Those who know me, or have read my previous posts such as this one, will know that in the decade since they first formed and released The Back Room, Editors have found a place not only in my record collection, but also in my creative conscious.

From their highly-acclaimed debut to recent fifth studio album In Dream, which has seen them return to form, Editors have chartered a course which has not always been plain sailing; with the rocky bass-driven urgency of the early albums giving way to the electric In this Light and On this Evening which, though Smith described as being a 'ferocious attempt to capture their live sound', some would argue consisted almost entirely of synth-driven melodies and left the talented rhythm section underutilised. Then there was somewhat incoherent The Weight of Your Love, which was released following Urbanowicz’s departure. Still, their changing sound over the span of their career has always been held together by Smith's distinctive vocals - the power, control and range of which is almost unparalleled. The influence of these changing musical directions could be seen in the diversity of the crowd in Newcastle’s 02 Academy on Tuesday evening; a range of ages, varying degrees of familiarity with the back catalogue and a multitude of t-shirts from previous European tours all thrown together into one assorted group of onlookers.

And onlookers they were for Glaswegian support band ‘The Twilight Sad’. Musically, it was easy to understand why they were supporting – a talented band, albeit with an emo name, frontman James Graham gave a strong vocal performance, with clear influences from the directions of Placebo and Thom Yorke. The problem came in watching them on stage: there was zero interaction between any members of the band; each stood solidly in their respective corner, and each avoided making eye-contact with Graham, whose silent screaming and praying at any given interval distracted from the music and seemed to embarrass the rest of the band. The overall result was perplexing and mediocre.

Editors took to the stage at 9pm after a short interlude, showcasing a powerful light show which mimicked the In Dream album cover. Opening track 'No Harm' provided an atmospheric start to the show and gave instant confirmation that Smith’s voice is every bit as commanding live as it is on record.

What followed was not only a masterclass in showmanship, but also in musicianship. Like many other members of the band, Smith jumped between instruments, often several times in one song, and did it so seamlessly that it was impossible not to be impressed by his confidence and timing. As the dutiful roadie delivered and collected guitars from him mid-song he never missed a lyric. Then, as bass player Leetch switched instruments, Smith sat at the piano, playing a series of chords in his right hand whilst holding the mic in his left, dancing and encouraging the obliging audience simultaneously.

Counting touring musicians, the ever-present roadie and the sound-desk on stage at the front instead of the usual spot at the rear of the Academy, there was a notably large number of people on stage, and each of them interacted with one another and the crowd. More than a couple of grins were exchanged as the frontman leapt from his elevated position on a keyboard stand and spiralled around with such infectious enthusiasm that the whole crowd could not help but to be absorbed and carried along. With such a large and intensive tour as this one, it is not surprising when bands go stale and performances become perfunctory, but there was no trace of that here. The awkwardness which is sometimes present in Smith’s manner was entirely absent, replaced by charisma, confidence and genuine enjoyment at performing the songs.

Keeping conversation to a minimum, the band stormed through their back catalogue in fine style, with a selection of their better-known tracks such as ‘Munich’, ‘Blood’ and ‘The Racing Rats’. They briefly touched on 2009’s In this Light... with ‘Papillon’ and wildcard, 'Eat Raw Meat = Blood Drool', the catchy chorus of which saw Smith dancing around the stage with unanticipated vigour. 2013’s The Weight of Your Love made an appearance in the form ‘Sugar’ and ‘Formaldehyde’ before they finished the evening with ‘Ocean of Night’, the crescendoing highlight from In Dream.

The crowd-pleasing highlight came in the form of a scaled back version of ‘Smokers Outside the Hospital Doors’, which saw Smith briefly stationary with an acoustic guitar and every member of the audience singing along in a lighters-in-the-air moment.

When he did pause to speak, it was, "Thank you for still coming out to see us after all these years," to an appreciative cheer from the audience. You find some bands, for example The Smiths, who do not have a casual following but a series of fans devoted to their work. But Editors are not one of these; their albums chart highly and they are widely known by a mix of generations, yet ask any of them and they will all cite the The Back Room as Editors pièce de résistance. The band are clearly aware of this, and by keeping the album as a key feature of their live set, they ensure people do continue to come out to see them play year upon year.

The crowd left the venue filled with palpable energy and excitement, which flowed in waves of excited chatter and moments of quiet appreciation. Before I reached Westgate Road I was already on Ticketmaster looking for the next time I could see them play. I was confronted with a list of ‘Sold Out’ signs – and rightly so – they deserve every ounce of their live reputation, and, if they continue on the tracks of the new album, they will only grow in popularity.

I might even have stated, ‘That was, without exception, the best gig I have ever seen.’