It is a weekend in early February when Bastille bring their post-apocalyptic party to Brixton; complete with the kind of songs you’d sing along to at 3 in the morning, and the somber ballads you’d croon curled up on a couch somewhere when you’ve had a little too much to drink.
It is as complicated and messy and true to humanity as you can get. Tiptoeing between the line of euphoria and soul-wrenching sadness, Dan Smith’s vocals glide smoothly over every track. For a band that made their name in the festival circuit, and still reside happily in line ups all over the world, it’s a marvel to see them in their own space with their own production. The gritty feeling of Brixton Academy, combined with an incredibly impressive drum solo by drummer Chris ‘Woody’ Wood reminds us that while the charts may decide that Bastille is indie pop’s golden child, the reality is much more complex.
Ask a room full of fans what genre the British superstars fall into, and there may be arguments galore. Never quite satisfied with fitting into a particular box, Bastille’s ability to effortlessly transition between rock, pop R&B and EDM is astonishing. Perhaps that is where the appeal lies; a little something for everyone and yet a live show that still flows seamlessly.
While the band’s best known hits from their two LPs, Bad Blood and Wild World go down a treat, it is their newer offerings that cause the most intrigue. Accompanied on stage by an old leather rotating couch, with Doom Days, the name of their upcoming album name, spray painted on the back, Smith gets himself comfortable as he belts out ‘4AM’; a tune inspired by that overwhelming ‘end of the night’ feeling when you are surrounded by the people you love. Whether it is Smith’s breathtakingly raw vocals or the smooth guitar-driven melody it is layered over, it is perhaps the most poignant moment of the show; building upon the idea of finding hope and salvation through the ones you adore.
We live in a complicated and confusing time. We have politicians blatantly fighting against basic human rights and a planet that is melting before our very eyes. At times it does seem like all we really have are the relationships around us. So I guess it is fitting, in a production so heavily influenced by the idea of a post-apocalyptic party, that some friends are invited along. Night one sees Best Laid Plans artist Rationale join the band for ‘I Know You’ and ‘Fake It’, while support act Ulysses Wells helps out on ‘Blame’. Night two, previous support act Moss Kena has his go at Craig David’s ‘I Know You’ verses, while Seeb, The Dawn Of May, Lewis Capaldi join in both evenings with ‘Grip’, ‘World Gone Mad’ and ‘Bad Blood’, respectively. Bastille may be one of the biggest musical acts in the world but they’re still more than happy to share their stage. Even with artists who are at risk of outshining the very band they’re supporting.
Between the moments of front-man Dan Smith bounding around the stage like an excitable puppy, or a child in the midst of a sugar rush, is that feeling of unity. There is a moment where he takes the opportunity to call out Donald Trump and Nigel Farage for promoting anything other than inclusivity and acceptance for all people. A risky move in London? Perhaps, but it feels like the point. Think what you want about Bastille but at least you’ve got something to say – something with actual substance.
At times, the show feels more like a theatrical production than a live music concert. A rotating damaged door frame later replaces the aforementioned couch, with Smith dramatically stomping around in circles. Each moment seems so meticulously thought out and planned, it makes you wonder where they even found the time.
Powering through a massive 24 song set list, it’s surprising to hear ‘Pompeii’, arguably the band’s biggest hit, slotted more towards the middle than the end. Their big, anthemic closing is instead reserved for ‘Warmth’, a more electronic feeling track in which their second album is based around. Soon they are back for an encore of their current hit ‘Happier’, and fan-favourite ‘Flaws’ which has Smith venture into the crowd for a dance while the rest of the band play their hearts out on stage, unphased.
In a world in which things feel like they could fall apart any moment, Bastille aren’t here to keep their mouths shut and distract us from it all. No, they’re just as terrified as the rest of us. What they are here to do, is remind us that it will all be okay, as long as we have each other. As long as we have music. Still avoiding tomorrow? Not if that tomorrow involves losing yourself for an hour or two with Bastille. Couldn’t think of any better way to spend a weekend.
Backstage Goss 