Metronomy at the 7th Street Entry, 4/5/12
7th Street Entry, Minneapolis
Thursday, April 5
View a slideshow from the concert here.
Twin Cities music fans were clearly in the mood to dance on Thursday night. The problem was, there were so many of them packed into the intimate 7th St. Entry to see U.K. electropop sensation Metronomy that there was hardly room to move, much less dance. But that didn't stop the four-piece band or their passionate fans from getting down in the sold-out club throughout the exhilarating 70-minute set.
The backdrop behind the band featured large, colorful drawings of the heads of three of the four members of Metronomy, with the tiny Entry stage being too small, perhaps, to accommodate the fourth one. But after playing some rather high-profile gigs of late in England in support of their recent Mercury Music Prize nominated album, The English Riviera, the band seemed well pleased to be able to connect with their fans in such close quarters.
Photo by Tony Nelson
The band eased into things with the slow, moody start of "Some Written," which eventually blossomed into an irresistible rhythmic churn which got the packed house moving. Bassist Gbenga Adelekan greeted the teeming throng exuberantly, "Minneapolis, what's going on?" And with that, the band launched into the blissful pulse of "The Bay," which truly set the place off, as the push lights the band had affixed to each of their shirts lit up in time with the infectious beat generated by drummer Anna Prior. Frontman Joseph Mount added some edgy guitar strains to the downright funky track, which gave it more of a bite in a live setting.
Photo by Tony Nelson
The more expansive, textured sound was present throughout the set, adding much more depth and attitude to songs that occasionally sound a bit thin on record. Mount took a moment to address the crowd before a truly dynamic version of "Love Underlined," asking us "How is everybody doing down here in the cellar this evening?" With songs as smooth as the ones the band were dropping at the start of the set, everybody was doing just fine, thank you.
The energy level was kept sky high as the band dug into their stellar 2008 record Nights Out for the first time in the night, delivering a pulsating rendition of "Heartbreaker," which again featured the hypnotic bass lines of Gbenga along with the electronic flourishes of keyboardist Oscar Cash. A moody version of "She Wants" slowed things down just a bit, and gave the crowd a chance to catch their collective breath. The brief lull continued on a pensive version of "Everything Goes My Way," which featured Prior on lead vocals.
But the set snapped back to life with the instrumental "The End Of You Too," which got the party vibe going once again, while "Holiday" kept the mood of the room bright with its buoyant, effervescent beat. Mount then told a funny story about the last time Metronomy played Minneapolis: "About 4-5 years ago, we played in a park in Minneapolis. We thought we were part of a music festival, but we were the only band. We were ready to play a half-hour set, but they wanted us to play for an hour and a half, so we had a dancing competition to kill time." Indeed, the band played the Walker's 'Music and Movies in the Park' series way back in 2007, which must have been quite the scene.
After a somewhat slow, plodding version of "Trouble," Mount asked us to take a trip back in time with him, to "a dance competition in one of your fine parks, amongst a bunch of ten-year-olds who are probably 18 now and dancing here tonight." And with that, the band tore into their second instrumental of the night, the guitar-driven wail of "You Could Easily Have Me," which was an explosive highlight of the set.
A bold, assured version of "You've Got A Thing For Me" quickly followed, before Mount thanked us all for coming, saying "Maybe we'll bump into each other in one of those skyways someday soon." "The Look" closed things out strongly, and the band filed out to a rousing ovation. After a brief break, the band returned to the stage and each member took to a different keyboard or synth at the front of the stage, crafting the slightly menacing sonic cadence of "Loving Arm," which erupted into life as soon as Prior went back behind her kit. The night closed with a rowdy singalong to "Radio Ladio," which got everyone dancing wildly, whether there was room to move or not.
Personal Bias: I was a fan of The English Riviera coming into the show, but wasn't quite expecting Metronomy to set the place off as much as they did.
The Crowd: Packed into the Entry and ready to get loose.
Overheard In The Crowd: I was expecting a lot more fans to vocally proclaim their love of Anna Prior, but there were only just a few.
Random Notebook Dump: I can't shake how similar the keyboard line in "The Look" is to the SNL song/sketch, "I Wish It Was Christmas Today." It was all I could hear while they played it.
Everything Goes My Way
The End Of You Too
You Could Easily Have Me
A Thing For Me
Loving Arm (Encore)
Radio Ladio (Encore)
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