Editors

As Morrissey once said, "We hate it when our friends become successful"... Four years ago the Editors' taut, Joy Division-inspired melancholic angst may have seemed like a breath of fresh air, but with each ensuing record's commercial success, not to mention high profile girlfriends, came the inevitable backlash. It's all a little unfair really as their live shows have never failed to deliver and their recent long player, In This Light And On This Evening, represents a giant leap forward musically speaking, with the four-piece openly embracing a whole new range of sounds and instrumentation.

There have been accusations that Editors' new-found love of synthesisers and austere beats is somewhat calculated, manufactured even, but surely if that were the case would it not have been easier to just continue making music in the same vein? Certainly tonight the majority of their fanbase seem to be somewhat confused by the departure from guitar-led anthems, as the opening strains of the title track seem lost on many, something that becomes even more apparent when the more familiar tones of 'Bullets' and 'An End Has A Start' bring Rock City's packed hallway to life.

Nevertheless, one still gets the impression that the band themselves feel much more comfortable behind their assembly line of keyboards and gadgets. Guitarist-cum-synth basher Chris Urbanowicz looks particularly at home as 'The Big Exit' and 'Bricks And Mortar' usher in Editors' new direction with cryptic aplomb. In a way, it's quite disappointing that many of the diehards choose such moments to queue for the bar or embark on a toilet break, as there's an engaging allure to Editors bleak trajectory that makes much more sense when conveyed in this manner.

Not that Editors have become completely dismissive of their past: long lost b-side 'You Are Fading' plus rousing renditions of 'Fall' and 'Fingers In The Factories' bookend a climactic encore and dispel any suggestions they've become disillusioned with their back catalogue. However, it's left to their most recognisable four minutes to date - 'Munich' - to underline just what kind of impact Editors have had in terms of taking alternative music to a wider audience, as each and every word is bellowed back by those in attendance, much to the delight of Tom Smith who even cracks a smile towards the end of the song's final chorus.

Having maintained such consistently high standards since first emerging around the mid-point of the decade, it's little wonder that Editors' reputation as a formidable live force remains intact. Whether they'll ever be able to convince the doubters is another thing, but credibility on a musical and capability level is worth so much more, and that's why Editors'shows stand head and shoulders above those of their peers.