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Going with a friend who, on the very same night, admitted she rarely turned up for the support band because they were usually “not worth my time” undoubtedly did not help me form an optimistic opinion of the first support band, The Race. Accurately described as “a bad Editors cover band”, they failed to draw my attention or the kind of eager atmosphere the good support bands will summon. Although the music was not unlistenable, their songs were at best album fillers; this kind of band you can imagine some mainstream, dominant label signing in an attempt to cash-in on a certain scene. With a little more time and devotion, creativity and experience could make the band into a sonic bomb, but if they continue as they are, they’ll soon find themselves at the bottom of every local band bill.
Metric, thankfully and as I expected, were unbelievably brilliant. Emily Haines is the perfect front woman; she doesn’t thrive on her sexuality, you’ll get no struts or prestigiously placed mini skirt, you just get Emily head banging, wearing sensible on-stage clothes, hitting every note accurately and just being naturally charismatic. Classics like 'Hustle Rose', 'Combat Baby', 'World Underground' and 'Dead Disco' grabs every single Coopers fan in the venue and shakes them by their new haircuts, while newer song 'Monster Hospital' and 'Grow Up And Blow Away' ensure that Virgin Megastores will sell out of the bands second album 'Live It Out' the next day. By the end of the set not one person can be seen without an amazed smile on their face, and there are even calls for an encore. The band rarely visit the UK’s shores, but when they do be sure it’s not something you miss; the songs, old and new, are unique sparks of genius.
Of course, everyone came to see the Cooper Temple Clause. To see whether they will fall flat on their face, or whether they’ll triumph over all the critics, or indeed the idiots who think it’s possible to judge the music they make on whether their hair is any better than before. They’re here to showcase the new songs due to feature on 'Make This Your Own', which is dangerous in itself; no one will know the words, no one will eagerly expect a certain song, opinions will be formed. It’s the kind of gig that makes band members toes curl, repeatedly chanting “please like the new songs” under their breath. They needn’t worry, everyone loves the new songs; piss all over the people that have commented the Coopers have Gone Mainstream TM. 'Waiting Games' and 'Damage' have taken the edge of 'Panzer Attack' and 'Promises Promises', stirred in a pinch of new and spat out a mutant plague that refuses to leave your head for the rest of the day. That’s not to say it’s all about the past; 'Talking To Pylons' sees a sensitive side to the band, more reminiscent of the melody driven lost bsides that it was charged a crime to miss off 'See This Through And Leave' and 'Kick Up The Fire And Let The Flames Break Loose'. Loosing Didz to Dirty Pretty Things has, if anything, improved the band – they’re more driven, and not only have they maintained the buzz, the fuzz and the synth shrieks, Tom Bellamy and Dan Fisher have been given more vocal privileges. Throughout they’re openly thankful that they still have so many fans, despite having taken two years out, but really with music like this, they have nothing to worry about – come the release of 'Make This Your Own', everyone will be more than willing to do so.
Tiffany Daniels |
| Coding: Darren Burrows