After a distinct period away from Nottingham, Bastille returned to play their biggest Nottingham show to date. This was a drastic step up from the famed Rock City gigs, which themselves were a massive leap from the tiny club days of just over four years ago. It may be the case that when you close your eyes, it almost feels like nothing has changed at all, but when they’re open the visual contrast is blindingly stark. Of course the music is just as incredible as ever.
The arena filled with one of the most varied crowds any band could hope for (while the majority of Bastille’s typical audience tend to be younger teenagers, there were fans of all ages and backgrounds). Ultimately, it didn’t matter how different they were, they had one thing in common: an appreciation for the incredible band they were about to witness.
While they waited they were treated to not only two brilliant support bands, but every moment was filled with ongoing footage as part of the WWCOMMS promotional media. This meant that even the longest break between bands (an impressively short thirty-minute changeover before the headliners took to the stage) passed instantaneously.
“Leah Dou, whose style of avant-garde indie pop appeared incredibly well crafted.”
Opening the show was nineteen year-old Leah Dou, whose style of avant-garde indie pop appeared incredibly well crafted. Unfortunately, due to the sheer size of the room, many of the songs intricacies were lost in some muddiness of the sound. Some minor technical issues also left the singer’s band without a bassist for a short period. Despite this, the band soldiered on through a couple of numbers inspired by the gentle 70s jazz-centric muzak you might find in a lift.
By the mid-point of their set each musician had clicked into the groove and Ms. Dou seemed to really hit her stride. While a disconnect remained, the band worked to win over the crowd and ought to be proud of a strong set. In a more intimate setting I suspect their music would be far more powerful.
“The incredibly soulful Indie Dance styling of Rationale immediately clicked with the crowd and warmed them thoroughly from the crisp winds that had braced them outside of the arena.”
After a short break that was filled with even more “B-Roll” from the now all too familiar News Reader antagonist, the stage lights dimmed and Rationale took to the stage in front of an illuminated sign of his name. The incredibly soulful Indie Dance styling of Rationale immediately clicked with the crowd and warmed them thoroughly from the crisp winds that had braced them outside of the arena.
Providing such upbeat energy that even the grumpiest concert goer couldn’t keep from tapping their feet and swaying their hips.
It certainly seemed that Rationale and his crew had stolen the show. Until… The darkened arena bowl was suddenly lit up with the face of the newsreader to an audible gasp of excitement form the crowd. This anticipation was replaced by an exhale of disappointment when they were informed that the newsreader had “Breaking News” that would be revealed in five minutes.
By the time Bastille walked onstage the atmosphere had reached a fever pitch that broke out as the band blasted through recent monster hit ‘Send Them Off!’. Immediately the 9,000 strong crowd were evidently struck by the awe-inspiring visuals. Every song had its own full video package that was perfectly timed to the music and filled three mammoth screens covering the entirety of the stage.
Off to each side of the stage were two more screens showing a live feed of the show. The live feed was being shot by a full professional camera crew that the band had brought on tour with them.
“There is no doubt that this is one of the more impressive shows Nottingham has been host to, and the band were prepared to provide a performance to match the grandeur.”
The camera angles, and editing techniques were easily recognisable as the ones used when the BBC broadcast performances from major music festivals. It is a safe bet that it was the same production crew. The production value of this show was frankly stunning.
Bastille spared no expense in their attempt to create one of the greatest stage shows of all time, and it paid off. There is no doubt that this is one of the more impressive shows Nottingham has been host to, and the band were prepared to provide a performance to match the grandeur.
Pulling off a nearly two-hour long set, that could have satisfied even the toughest customer, the setlist was perfectly crafted to maintain the energy of the room whilst still providing plenty of sincerely heartfelt moment.
The band took every opportunity they could to make use of the entire space available to them; playing songs while Dan walked through the crowd around the whole arena and even performing ‘Two Evils’ from one of the executive boxes at the top of the arena. Musically, there isn’t another pop band on Bastille’s level. In fact, no-one even comes close.
“There is no doubt in my mind that Bastille deserve to top the bill of any major weekender.”
The songs have always been well written but the live arrangements are unbelievable. Not only did the strings soar over the top of each track, perfectly offsetting Smith’s vocals, but the brass rounded everything off providing a full sound. The brass rearrangement at the start of ‘Oblivion’, and Charlie Barnes’ guitar jam to kick off ‘Icarus’ truly sealed just how special this show was.
This is the time of year where everyone talks about the next generation of festival headliners. So much so, in fact, that it is a tired cliché. Of course, one must exercise this cliché because there is no doubt in my mind that Bastille deserve to top the bill of any major weekender.
Often people are hesitant to see a band in that position after two albums, but the material is there. Two hours of hit after hit. Perfect performance after perfect performance. Bastille bring the best show on the planet, that much is undeniable.
Liam Fleming
Image courtesy of Liam Fleming
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