Asobi Seksu

Far be it for me to highlight the inconsistencies of stage times from show to show but tonight's rather early support slots really do take the biscuit. Alright, so the influx of 14+ gigs should be seen as a good thing, ensnaring our youth away from the vacuous deluge of reality-based television that somehow passes itself off as entertainment every evening. However, the flipside is that due to the unfortunate fall in record sales, the demographic for attending live shows has risen somewhat, despite the market's subsequent targeting of a younger audience, which unfortunately means that the likes of Violens and Asobi Seksu, both of whom are unlikely to receive this level of potential exposure for the forseeable future, have the opportunity of playing in front of a large, four-figure crowd snatched from their grasp.

For Violens in particular, one can't but help feel a tad apologetic, as they are forced to take the stage merely minutes after the doors have opened. As a result, their sweetly orchestrated, Orange Juice-meets-McCarthy inspired set falls largely on deaf ears, that's of course if there are more than a dozen people actually aware of the fact there's a band onstage. While it is their loss, you can't help thinking how much better the likes of 'Lighting Lightning' and 'Already Over' would sound in a packed room rather than the vacuous confines of a mostly empty venue where the first instincts of those who have ventured inside early is to make for the bar.

Asobi Seksu fare slightly better, probably due to the sheer intensity and volume of their set, which almost compels people to listen even if they'd otherwise choose not to. Not that there is any feasible reason other than sheer ignorance why anyone would take the latter option of course. Mixing material from this year's Hush and its predecessor Citrus, Asobi Seksu's set mixes the swooning ethereality of 'Thursday' and 'Gliss' with the more ferocious soundscapes of 'New Years' and 'Red Sea', the latter generally terrorising those who've arrived midset purely to see tonight's more radio friendly headliners into a stunned sense of submission.

In the case of White Lies, it has been a hugely successful twelve months, despite being ladled with disparaging levels of adversity at times, and although there's still a tad of indifference as to whether this year's triumphs can be repeated and sustained in the future, no one can deny they've rightfully earned their current elevated status courtesy of a relentless worldwide tour schedule and, let's face it folks, an album that when all's said and done really isn't that bad a record. Again, buoyed by the impressive quality of the venue's soundsystem, White Lies deliver on pretty much every count. Sure, they don't really converse a great deal between songs but when the likes of 'Farewell To The Fairground' and 'E.S.T.' raise their heads above the parapet like martyrs for some illicit cause they sound like a band ready to take on the world.

As expected, the singles 'To Lose My Life' and 'Death' receive the heftiest applause, while the inclusion of early b-side 'You Still Love Him' and a more than satisfactory take on Talking Heads' 'Heaven' from their much-praised Fear Of Music opus are both welcome additions to an already powerful repertoire. In fact the only real criticism that could be laid at White Lies feet this evening is perhaps due to the lack of any new material being aired, but having spent the last year almost constantly on the road, one suspects their time has been well spent in other areas rather than writing songs. Of course the ensuing twelve months will be the big test as to whether 2009 has been a flash in the pan for them or not, but with a stage show as elaborate and grandiose as this, only a fool would surely bet on them failing.