More on: Elbow

Date: 16/06/08
Rating:

Monday 16th June - London witnesses a unique, one-off concert from one of the greatest bands this country has produced. A band who've just released their fourth much lauded album, one of utter sublimeness, and who can command and turn an audience to a wreck. No, not Coldplay. Wild horses couldn't have dragged this reviewer to see Chris Martin and his ego at Brixton Academy when Elbow are playing the Royal Festival Hall. The irony of these two groups, who in a just world would be sharing similar successes, playing on the same night. One can only imagine the pompousness occuring further south in our capital, because those here, attending the latest show in Massive Attack's 'Meltdown' festival series, are going to see something very special indeed.

Elbow take to their usual sparse stage in front of the seated audience, and start off with 'Station Approach'. Frontman Guy Garvey is dressed in black, topped with a trilby, which is soon lost. The venue is a much more fitting place for Elbow, as although Guy Garvey could conjure warmth anywhere, sitting back and letting their songs wash over you, instead of being shoved by people getting to toilets/bar/front during poignant moments, is infinitely preferable. This opening number, written about the band's hometown of Manchester, is dedicated to London, for making Guy feel so at home. Speaking of which, his family get a wave, seated in the Royal Box.

The Royal Festival Hall's acoustics do Garvey's crisp and clear vocals justice - the tender and beautiful 'The Bones Of You' and 'Mirrorball' precede an (as always) powerful 'The Loneliness Of A Tower Crane Driver', and it's so far feeling like a pretty damn good Elbow gig. The songs are perfect and heartfelt, as we know. Garvey's voice is heart-stopping, as we know. Then everything changes. Sneakily, during the mid-set 'Any Day Now', we see a choir enter the stage. Now Elbow can fill any room themselves, so the anticipation of the already rich sound being magnified is delicious. The chipper 'Starlings' is as showy as it should be, trumpets blazing from not only the band members, but the guys at the sound desk and some sneakily placed contributors in the boxes.

Garvey names the all-male choir (also dressed in black with trilbies) 'Geoff', and announces they are to now perform the rarely seen 'Presuming Ed (Rest Easy)', as it's something they can't do on their own. 'Geoff' are clearly here for the rest of the gig, and they make the already dramatic 'Some Riot' even more chilling. The beloved 'Newborn' sees keyboardist Craig Potter nip off the stage, only to return on a rising pipe organ centre stage. Fan favourite 'Grace Under Pressure' is made all the more enjoyable by Garvey fluffing the opening, and exchanging jokey insults with the choir (who got it right with only two days notice, apparently). Your reviewer is not ashamed to admit a tear was shed during 'The Stops', as the realisation sinks in that this will go down as one of the greatest shows witnessed by the lucky few that are here. 'One Day Like This' takes its rightful new place as set closer, and by this point everyone is on their feet for the jubilant number, with the choir front and centre throwing their hats into the crowd. No encore, but none is needed after this joyous ending.

Becky Reed

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