The crowd was on its feet smiling, singing and clapping along - to a rendition of Happy Birthday in celebration of another year in the life of singer Aaron Starkey.
And that was about as animated as this evening got for fans of Slow Readers Club as, like the birthday cake candles, the gig failed to ignite.
This was a rescheduled outing which was originally penciled in for last November and perhaps that was one reason for the disappointing turnout of only about two hundred people.
On the plus side, it meant that the band played in the original, smaller venue where the low ceiling and stretched layout played to the band’s strengths where a pulsating drumbeat and booming bass are to the fore in many songs.
The set kicked off with Fool for your philosophy from the 2015 album Cavalcade which was warmly received swiftly followed by The Wait and then the first song from the new album in the shape of Animals which echoes the groups early forages into electronica.
Released as a single along with Technofear to promote the eagerly anticipated Out of a Dream album scheduled for release on 14 March Animals was the third song of the evening and a decent tune. However it was the older tunes that resonated more, such as the excellent All I Hear where Starkey, in an act of irony, attempted to persuade the crowd to perform a synchronated stadium wave.
This is more revealing than perhaps intended. For although this Manchester band have been around for more than a decade and have had some top festival appearances and good selling albums, they have failed to make that elusive breakthrough to superstar status. Yes they have good songs, showcased here in The Great Escape and Come Lay Your Troubles on Me from the latest album but no stand out classic that will take them as a band to the next level.
SRC's thirst for such success is almost palatable. Nowhere more so than on their new single Boy so Blue. Close your eyes and it's almost Coldplay, right down to the stained vocals on the higher notes.
This band has built and sustained a dedicated and loving following and rightly so. Their songs are generally good and this gig was an enjoyable night out and the new album deserves to sell well. But I fear they will always just have a nodding acquaintance with the true success they crave.
Like a yo-yoing Championship soccer side with too few Premiership-level players, the lack of real quality songs will prevent promotion to a higher level. SRC are doomed to be the Sunderland AFC of sound.
LIVE REVIEWS
Arriving at The O2 for the first night of Radiohead’s London residency, we walk in under Stanley Donwood artwork lining the walkway and the lines of the band’s bleak modern chant “Fitter Happier” printed on a huge banner hanging from the ceiling of the former Millennium Dome. The moment instantly brings back memories of walking into Oasis’ Live “25” tour earlier this summer. This is the other major rock return of the year and the atmosphere carries a different kind of excitement, yet the intensity feels just as real. Instead of bucket hats and throwing drinks into warm air, we have cold weather and a slow shuffle through the night to gather in the dark. Toniiiiiight, I’m a pig in a cage on antibiotics.
It almost feels unreal that nine full years have passed since Radiohead’s last album, the rich and sorrowful “A Moon Shaped Pool”, and that they have not toured since 2017. In between, we have seen several side-projects, including Ed O’Brien’s overlooked but inspired solo run as EOB and the way Thom Yorke and Jonny Greenwood nearly recreated Radiohead’s spirit under a different name through the sharp jazz-rock of The Smile, as well as a wave of controversy.
After performing in Tel Aviv in 2017, questions grew louder about the band’s connection to Israel as the horrors of the genocide in Gaza intensified. Attention landed on Greenwood’s collaboration with Dudu Tassa, an Israeli musician who has played for the IDF, and on Yorke’s later comments responding to criticism. The guitarist had joined anti-government protests in Israel, where his wife is from, and the band recently made their views clear again by speaking out against Netanyahu’s regime, insisting that music should be something that unites people from every culture. That idea guides the show tonight, where there is no sign of protest or boycott.
The audience surrounds the stage, which sits in the center to create a more personal and absorbing feeling than most massive arena shows ever manage. A flickering vocoder opens the room and builds tension before the band walk out and jump straight into old-school territory with the raw guitar gloom of “The Bends” opener “Planet Telex”. It is one of many choices designed to thrill the crowd from a group not always associated with this kind of approach, and the packed venue screams back “everything is broken. why can’t you forget?” as a shared release against everything falling apart in the world around us.
With a “busking approach” guiding the tour, the band rehearsed more than 70 songs and have performed around 43 so far, so this is not the predictable hit conveyor belt of Oasis’ shows. It feels refreshing to never know what is coming next. The setlist leans heavily on the treasures from “OK Computer” and “In Rainbows” and gives equal space to the once-dismissed but now appreciated “Hail To The Thief”. It creates a kind of Radiohead-style hit parade, without “Creep” of course, and includes the occasional glammed-up oddity to let the show breathe.
There is the roaring political fear of “2+2=5”, the huge and aching sweep of “Lucky”, the pulsing electronic rush of “15 Step” and the joyful sing-along of “No Surprises” anchoring the early part of the performance. This section also includes “Sit Down. Stand Up.” with a new soft happy hardcore ending, “Bloom” from the fragile “The King Of Limbs” that now carries a brighter neon energy, and “The Gloaming” flowing into “Kid A”, giving the night a moment to sink before everything intensifies again.
There is not a single chance for a toilet break from that moment onward. From the gentle pain of “Videotape”, to the wild three-part surge of “Weird Fishes/Arpeggi” into “Idioteque” and “Everything In Its Right Place”, to the guitar-driven “In Rainbows” songs and the massive first-act finale of “There There”, every moment lands exactly how a Radiohead fan would hope. The visuals also look spectacular.
Then we reach the reward of a seven-song encore that reads like fantasy on paper, complete with the newly viral “Let Down”, a playful return to “a song we wrote on a freezing cold farm in 1994” with the indie powerhouse “Just”, and the huge final blow of “Karma Police”. This show becomes the cinematic and artistic contrast to Oasis’ carefree chaos, capturing that feeling of “standing on the edge” and letting everything wash over you. The entire night carries a fierce energy and a well-judged sense of scale, offered with warmth and intention, and Yorke leans fully into his rockstar presence as the band rotate around the stage to engage each part of the arena. For a group that once cringed at the idea of “arena rock”, no one performs it better. A new album and another night like this would be welcome as soon as possible.
‘Planet Telex’
‘2 + 2 = 5’
‘Sit Down. Stand Up.’
‘Lucky’
‘Bloom’
‘15 Step’
‘The Gloaming’
‘Kid A’
‘No Surprises’
‘Videotape’
‘Weird Fishes/Arpeggi’
‘Idioteque’
‘Everything In Its Right Place’
‘The National Anthem’
‘Daydreaming’
‘Jigsaw Falling Into Place’
‘Bodysnatchers’
‘There There’
‘Fake Plastic Trees’
‘Let Down’
‘Paranoid Android’
‘You and Whose Army?’
‘A Wolf at the Door’
‘Just’
‘Karma Police’
