Leading up to the final show of the Australian tour, there had been many comments made about how spectacular London Grammar was live, and they weren’t wrong.
An already sizeable and expanding crowd were indulged to the sleepy dreamy sounds of Vancouver Sleep Clinic, with the simple melody and opening lyric of, ‘Can somebody help me out’ a subdued and gentle start to an evening of exemplary sounds.
Vancouver Sleep Clinic @ The Prince Bandroom
Credit: Kristel Proctor @justkyp
Only a few months since their first Melbourne appearance (making this trip #2 to Melbourne), and there was already a noticeable change in the calibre of live delivery for an incredibly tight set. More importantly a growing appreciative crowd – those who weren’t paying attention missed out to their own detriment.
Vapour and Collapse may be all we have to listen to away from the live shows but there are certainly signs of good things to come and well deserving of an appearance at SXSW this year.
When the time arrived for London Grammar to hit the stage, attention was focused on Hannah, calm, composed and ever-present, blowing away everyone with an extended opening to Hey Now. Its power and seemingly effortless delivery is perplexing in its source and a sheer force to be reckoned with. If it amazes when recorded, it is nothing but astounding live.
That’s not to say that the rest of the band go without credit, together with Dot and Dan, London Grammar proved their musicality and skill, fluently moving between the rhythmic Darling Are You Gonna Leave Me and the tender Interlude.
London Grammar @ The Prince Bandroom
Credit: Kristel Proctor @justkyp
Ever humble, the thanks and gratitude conveyed was evident throughout the night as well as the celebration of a Brit Award nomination earlier in the day and the conclusion of their professed favourite tour to date. Perhaps the tour was as surreal for them as it was for us to hear these sounds brought to life on stage beyond any expectation of brilliance.
Wasting My Young Years offered the first invitation for a sing along, and the resounding vocals suggested few refused the offer, before an entrancing cover of Chris Isaak’s ‘Wicked Game’.
If there was one grumble, it was simply over too soon with everything bought to a close with Strong. Another invitation to contribute was unanimously accepted, with the crowd even stealing the limelight for the choruses.
A Higher Revelation 