Metronomy at Rock City

A night that started slowly and ended with a synth-pop flourish.

The support ‘Proper Ornaments’, started up as I waded my way through the throngs of denim-clad teen couples of Rock City.

The jangling guitar throwback to ‘The Velvet Underground’ was generously met by the growing, expectant crowd.

Nevertheless the listless, understated sound never quite filled the room.


Proper Ornaments: Good but Rock City was too big for them

From the off Metronomy tied the room together with an infectious sound that united the more sheepish looking thirty-somethings out on a work night with the throngs of giddy teens in the middle of the crowd.

They began with three songs from their recent release ‘Love Letters’ (10th March), a driven electro-pop sound that Metronomy fans are well accustomed to since the more experimental ‘Pip Paine [Pay the £5000 you owe]’.


Crowd pleasers

Joseph Mount (composer, singer, keyboards and guitar) used a short, breathless interlude to reminisce over his less glamorous appearances around the corner at Stealth.

The crowd pleasers, both ‘The Look’ and ‘The Bay’, were met with raucous enthusiasm beyond any other song.

Most impressive for me was the rhythm section of the band. Beneath the catchy synth hooks Gbenga Adelekan (bass and vocals) and Anna Prior (drums and vocals) orchestrated a polished, wholesome sound akin to an album version that reverberates with all the animosity of a live performance.

Metronomy in full flow

Metronomy in full flow

Aside from the crowd pleasers, a particular highlight for me was ‘Everything Goes My Way’, sung by percussionist Anna Prior.

It was a more stripped down, antiquated sound from their new album, drawing more heavily on influences from bands such as ‘The Zombies’ than anything in the world of electronica.

Metronomy don’t simply perform live to recreate their own sound, they challenged themselves with improvisational synth melodies, a virtuosic drums and bass dynamic and even a few dance routines thrown in for free.