Will Marshall
Pointless measurement arguments aside, Metric are also a Canadian synthpop band that have turned out the hits for a quarter century as of this year, and fresh off last year’s excellent Formentera, have once more returned to our shores.
Support comes from Californians Lo Moon, whose only mood seems to be laconic. Even the faster songs have a drawling, dreamy quality to them, an impression only strengthened by the soft drumming and ambient synth backdrops. Faster songs still feel lackadaisical, unhurried; it’s very much easy listening, a smooth and calming presence with the band barely moving during or between songs. It isn’t particularly memorable but it’s certainly pleasant on the ears and the crowd agree. It’s a relatively long support slot but as they’re the only ones, it means the band don’t have to play to a half empty room as people file in constantly even if they don’t show much enthusiasm outside of smatterings of applause.
Despite the crowd being almost totally stationary, Metric don’t let that get to them. A good thing too, as they make a daring opening gambit with the ten minute prog pop epic ‘Doomscroller’ that still gets the crowd loosened up. Following that with the high octane ‘Gold Girls Guns’ and ‘Dark Saturday’, the band have bags of energy but it doesn’t seem to be reciprocated beyond the first few rows – though the cheering for the former’s guitar solo is raucous, as is between songs cheering and applause. Maybe it’s the prestige of the venue, maybe it’s because it’s a Wednesday but bar small pockets, the crowd are painfully devoid of energy and there’s next to no movement, despite huge bangers like ‘Help I’m Alive’. Vocalist Emily Haines more than makes up for it on her own though, in a dazzling outfit and striding or dancing gleefully around the stage.
It’s a relatively low-key staging too; ‘Formentera’ is backed by warm oranges and roving white to subdued rainbow hues, while others use the smaller setup to make things larger than life such as ‘Dark Saturday’ that pulsed and flashed with wild abandon. Slowing things down are two mid-set acoustic numbers, ‘Twilight Galaxy’ and ‘Combat Baby’ that get plenty of cheers and the latter finally sees the crowd sing along, albeit quietly. By the time ‘Synthetica’ rolls around it’s gratifying to see more of the crowd returning the effort the band are putting in with its raucous synth rock energy, but we’re three quarters of the way into the set with a smattering of songs left; a shame since the band deserve far more than they’re getting.
Ultimately though, a poor showing from the crowd bar those final songs (especially the set staple ‘Black Sheep’), doesn’t detract from a stellar showing from Metric. They’re airtight with a stunning light show to go along with their soaring synth pop rock, playing hits from across the years with the biggest grins on their faces.
