"After all these years, you still surprise me Belgium" - Tom after NSBTW
Taped on the night by one8ung, here's Editors' gig at the Sportpaleis in Belgium on the 17th March 2018. The files are being shared here in their original FLAC format in accordance with the taper's wishes, many thanks to you one8ung for making your work available. It's very much appreciated ;)
The "Special Relationship" is alive and very well in Antwerp, as part of the band's Spring tour. Although I'm looking out my window at the penguins skating by and I'm not convinced that it's Spring at all. One thing that is obvious about the sound of the show is how large a venue this was. The event sold out and, if I have my figures correct, that means there were 23,000 people in attendance. So while it doesn't have the pristine clarity of a soundboard recording, this audio document taped from the crowd is still a good opportunity to get a handle on just how the band are presenting the newer material. "I must manage expectations", as someone once sang...
On that note and as a brief detour from this post, I can't help but feel there's a knowing nod towards Ian Browns' F.E.A.R. in that set of lyrics from Darkness at the Door:-
I must manage expectations
My idols are revelations
Anyway, back to the business at hand. This is a special recording for fans because it's the first opportunity that most of us who haven't been to a show yet get to hear the bulk of E6 being played live. I think the only track that's missing here from VI OLENCE (standard edition) is Counting Spooks. The running order is actually made of a majority of compositions from the second lineup of the band, and you'll notice that the older tunes are grouped together in the centre of the show (with the exception of the traditional closing salvo of Papillon and Marching Orders). It's like the middle of the gig is all about reflecting while the two sides that bookend it are all about the very recent past and the present.
On that note and as a brief detour from this post, I can't help but feel there's a knowing nod towards Ian Browns' F.E.A.R. in that set of lyrics from Darkness at the Door:-
I must manage expectations
My idols are revelations
Anyway, back to the business at hand. This is a special recording for fans because it's the first opportunity that most of us who haven't been to a show yet get to hear the bulk of E6 being played live. I think the only track that's missing here from VI OLENCE (standard edition) is Counting Spooks. The running order is actually made of a majority of compositions from the second lineup of the band, and you'll notice that the older tunes are grouped together in the centre of the show (with the exception of the traditional closing salvo of Papillon and Marching Orders). It's like the middle of the gig is all about reflecting while the two sides that bookend it are all about the very recent past and the present.
Of the new tracks, the one I was most looking forward to hearing was Darkness at the Door. It's been reduced in size for a concert setting and I think it makes it into even more of a mainstream track. It checks in here at just over 3 minutes long, a perfect length for a pop single. It also indicates that they've taken how to present the songs live versus adhering religiously to the studio versions into consideration. Isn't it odd hearing Cold so far in? This is probably the direct result of me spending so much time obsessing over the festival shows from 2017, something that brings with it its own self-inflicted problems as a fan.
It's lucky for us that Editors road-test new songs, to gauge reaction and see what's working and what requires some improvements. It means they can make the necessary tweaks and adjustments when they reach to studio, so it's a benefit for them in the creative process and it helps to establish that song's eventual identity. On the flip side, there's a hardcore group of us who, if a new song has been performed and somebody recorded it, will just listen to that version over and over again until that become the songs identity. It's not helped by the fact that we heap so much anticipation on these things, and devote so much scrutiny and analysis to them when we hear them. So when the studio take is finally revealed it will often illicit a response of "I like the live rendition better", because that's the arrangement which is imprinted in our synapses. Ironically, there are four interpretations of The Pulse by the band in existence so even they have trouble establishing its identity!
Here's something to consider; Mr Rezvani was at this gloomy recital in Antwerp and he was clearly working. On what? He shot some photos and some footage from the stage but is this part of some wider project? Hmmm...
It's lucky for us that Editors road-test new songs, to gauge reaction and see what's working and what requires some improvements. It means they can make the necessary tweaks and adjustments when they reach to studio, so it's a benefit for them in the creative process and it helps to establish that song's eventual identity. On the flip side, there's a hardcore group of us who, if a new song has been performed and somebody recorded it, will just listen to that version over and over again until that become the songs identity. It's not helped by the fact that we heap so much anticipation on these things, and devote so much scrutiny and analysis to them when we hear them. So when the studio take is finally revealed it will often illicit a response of "I like the live rendition better", because that's the arrangement which is imprinted in our synapses. Ironically, there are four interpretations of The Pulse by the band in existence so even they have trouble establishing its identity!
Here's something to consider; Mr Rezvani was at this gloomy recital in Antwerp and he was clearly working. On what? He shot some photos and some footage from the stage but is this part of some wider project? Hmmm...
Some moments to enjoy:-
- The piano link between Cold and Papillon
- The band continuing to walk onstage to the outro of Hallelujah (So Low), only to start that song immediately afterwards. Contrary buggers.
- The slow fake-acoustic intro to Ocean of Night that they debuted previously, which could have had some folks believing that the statement "This is your slow dance" was a total lie. Then that kick drum happens...
- Ed sending the band offstage after Ocean of Night with some drums that are very reminiscent of There Goes the Fear by Doves.
After all those excellent acoustic shows, isn't it nice to hear Ed and Russell back doing their thing? Enjoy the music ;)
The Setlist
01 - Intro - download here
02 - Hallelujah (So Low) - download here
03 - A Ton Of Love - download here
04 - Darkness At The Door - download here
05 - Formaldehyde - download here
06 - Violence - download here
07 - No Harm - download here
08 - Sugar - download here
09 - Lights - download here
10 - Munich - download here
11 - Blood - download here
12 - An End Has A Start - download here
13 - In This Light And On This Evening - download here
14 - Eat Raw Meat = Blood Drool - download here
15 - Nothingness - download here
16 - Belong - download here
17 - The Racing Rats - download here
18 - Ocean Of Night - download here
19 - Encore Break - download here
20 - NSBTW (Tom Solo Acoustic) - download here
21 - Cold - download here
22 - Magazine - download here
23 - Papillon - download here
24 - Marching Orders - download here
Info File - download here
Checksum - download here
Provided by Annemarie (thank you!) who was there on the night, here's a video of that wonderful moment when Tom loses himself in a beautiful piece of fan interaction. I still love the light on baby...
NSBTW
brought to you with lots and lots of lemming-love :) x
