XFM Winter Wonderland, Brixton Academy
'Good Days, Bad Days' and 'You Want History' demonstrate that Kaiser Chiefs haven't lost their ear for a killer hook.
The XFM Winter Wonderland has established itself on the musical calendar over recent years by showcasing some of the best upcoming bands alongside headliners that are more accustomed to arena-sized venues than the hallowed former theatre. First up are the hotly tipped White Lies who deliver a blistering quartet of tracks from their forthcoming debut album. Taking the best bits from 'Hot Fuss'-era Killers and fusing it with the dark undertones of Interpol and heroes Joy Division, they are able to create stadium sized anthems such as the closing 'Death', with its liberal sprinkling of synthesizers.
After all the seriousness and gloom that preceeded her it is left to Ladyhawke to bring some disco-tinged sparkle to proceedings. It's hard to make out the face of singer Pip Brown, with her mop of long face-obscuring blond hair, but her voice soon relieves any lingering doubts. Starting off with a string of album tracks, including a tentative 'Professional Suicide', means that she struggles at times to connect with the audience. However, the soaring 'Magic' and the school disco-like retro of 'Another Runaway' help turn the tide back in her favour. Finishing her set with the killer trio of 'Back Of The Van', 'Paris Is Burning' and a hard-edged version of 'My Delirium' ends proceedings on a high and deals the first blow of the night for girl power.
The second strike was delivered by the cute but kooky Ida Maria who comes on dressed like a female Adam Ant, a dandy highway-woman complete with braces, red shoes and a feather in her hat. After opening with a shuddering rendition of 'Louie' she takes the time to introduce 'Stella' as "a Christmas song for all those who hate Christmas". Her talented backing band joined in on backing vocals but Norway's finest shows the power of her voice with a sublime unaccompanied segment. A vitriolic 'Forgive Me' is closely followed by a new song which slows the tempo down a couple of notches with its reflective theme of getting old, before ending in a flurry of guitar fuzz. "I love you, do you want a drum solo?" she exclaims, before launching into the twisted pop sing-along of 'I Like You So Much Better When You're Naked'. After the giant karaoke session there is still time for 'Oh My God', which sees the unpredictable songstress prowling the stage microphone stand in hand whilst simultaneously throwing yet more water over herself and screaming like a banshee.
Tonight she gives her all with an energetic set which will no doubt win her more than a few admirers, but the same cannot be said for Iglu & Hartly. Predictably enough it was the helium powered 'In This City' which provides the highlight of their set, although few could fault their boundless enthusiasm with one guitarist mounting one of the speakers barely minutes after going on stage. The tag team duo of the pony-tailed beanpole singer and Mark Owen lookalike bounce around stage, and occasionally off it, but these antics are far more interesting than their sub-Beastie Boys rants.
Whilst The Rifles are billed as surprise special guests, it is possibly the worst kept secret since the last government security leak. Whilst they might just as well have called themselves 'Styled By Topman Personal Shopper', with their fitted jackets, check shirts and skinny jeans, their tunes and musicianship are equally tight. The Jam influenced 'She's Got Standards' and 'Peace And Quiet' are keenly appreciated by the sell-out crowd, but the sublime 'Toerag', which build from a gentle drum beat and melodic strummed guitar to a full on raucous assault, is the real ace in the pack. They finish up in a suitably festive manner with a gentle piano-driven rendition of 'Sleigh Ride' before politely wishing the crowd a nice Christmas, which is a rather nice touch.
After much exuberant singing along to the tunes playing over the tannoy, it is clear the assembled were of good voice. Whilst Kaiser Chiefs have been guilty of some off-key live performances, there are no sign of such cobwebs tonight. The band are more of a tight unit than ever, fronted by the svelte looking Ricky Wilson who is a strident human jelly bean of boundless energy from the outset. Taking the stage to the strains of Dire Straits' 'Money For Nothing' they quickly launched into 'Spanish Metal' before the now unmistakeable rumble of 'Never Miss A Beat' is given extra dance floor bounce by some well placed keys and the first of many outings for Ricky's beloved tambourine, which is jettisoned mid-set. A rousing 'Everyday I Love You Less And Less' helps maintain the frenetic tempo which is heightened yet further by Ricky's foray into the audience.
'Good Days, Bad Days' and the cowbell heavy 'You Want History' demonstrate that they haven't lost their ear for a killer hook whilst embracing musical experimentation, and keep the now hot and sweaty crowded jumping appreciatively. At one point during 'Ruby' it feels like the roof of the famous old theatre will be forcibly removed due to the sheer weight of noise, whilst we are all encouraged to "clap along if you want to get heard on the radio" for 'Modern Way'. It barely takes the length of an extended drum into to 'I Predict A Riot' for those with seated balcony tickets to arise in resolute defiance of the 'no standing' signs placed all around, and they spend the rest of the night dancing, jigging and singing like their lives depended on it. Despite losing a shoe during the penultimate song, Ricky soldiers on to deliver a breathless run through 'Oh My God' which he needn't have sang since the crowd did most of it for him, before the paper cannons were let loose and the delirious crowd left the venue with the classic 'Teenage Kicks' ringing in their ears.
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