CityLife

Glasvegas

Glasvegas

Glasvegas
Academy
May 3, 2011
 
Heralded as the most important band of a generation in 2008, Glasvegas are now in a different place. Swathes of empty space greet the band tonight, perhaps a sign of the fickleness of the public, but in all likelihood representative of the indifference that has met new album EUPHORIC /// HEARTBREAK \\.

Since their 2009 Phil Spector-produces-Jesus and Mary Chain eponymous debut sold 300,000, leading to support slots with U2, Glasvegas fell somewhat into stereotype, with drug problems (singer James Allen overdosed in 2009) and inter-personal issues (drummer Caroline McKay has been replaced by Swede Jonna Löfgren) resulting in their relocation from Glasgow to California.

The consequence is that EUPHORIC /// HEARTBREAK \\ leaves behind the social workers and absent fathers of the debut in favour of turning the pomposity up to 11. To symbolize the re-birth, Allen now wears exclusively white and no longer plays guitar. If his voice, pure and cutting, soars like peak-era Ian McCulloch, his performance as frontman is less convincing.

The same can be said of the new songs. The majority of EUPHORIC /// HEARTBREAK \\ is aired, sounding invigorated from its recording thanks to Rab Allen’s taut guitar playing and Löfgren’s incredibly powerful drumming, but people are left cold.

Allen senses this, telling us ‘these songs are growers, give it a couple of years and you’ll eventually like them’, but only Whatever Hurts You Through the Night carries enough melody; the likes of You and Shine Like Stars sound epic, U2’s influence obvious, but lack punch.

The contrast with the older material could not be greater. After a run of six new songs, Geraldine is greeted religiously. For the closing Daddy’s Gone, Allen barely sings a word, but it’s not just familiarity that makes it the highlight.

A reminder of how great Glasvegas are when their bombast is honed and their pop sensibility is indulged, they should take note if those empty spaces aren’t to engulf them.