January will be marked in Editors' history as the month they began a campaign of showing the world what they did before arriving in 2020. The Black Gold Tour commenced on the 30th of the month in Paris, but on the On the 25th January, and ever the tease, Tom posted a photo of a very poorly concealed potential setlist (see above), stating it wasn't set in stone. It turned out to be very, very close to the finished running order, or at least the final sequence in a gradually evolving collection of compositions. As well as the standards that I think we all expected, they brought back some songs they haven't ever attempted as the second lineup of the band. Music that we've only been able to appreciate in officially released form and in older bootlegs.
I've said it in other posts but I was a little concerned for them having to undertake this prolonged period of creative stasis. What they've done, however, is to take their duties of reminiscence and allowed themselves to get creative with it. There's been new arrangements, novel music to hit the stage with, and a vibe of celebration built in. A final acknowledgement that it's OK to take inventory, take a bow, and allow themselves to present who they are and were, even while we have to wait to see what they will become. I actually think this has only been made possible because they've collectively decided to continue on as artists in the future. Had there been no plans, I think the discomfort of being perceived as cashing-in before a farewell would have scuppered everything. I don't know because we've never met, but Editors don't appear to be a band that would take any kind of comfort in abandoning the potential for progress that they've worked 15 years to earn. Given their drive to explore and follow the path that their inspiration takes them on, and how adept they are at changing styles while retaining their core values, it wouldn't have made any sense.
One thing I like most about these shows and this tour as a whole, is that it's allowed Justin and Elliott to sidestep the (unwarranted) bear-trap of having to be Chris impersonators. The current democratic climate within the group means that they can add their own bright colours to the black palette painted by Editors Mk1, and still remain faithful to the source material. This isn't 2012 any more, and they've been in the band for 8 years now. That means we're approaching the same tenure that Chris had before he was gone. Symmetry again.
On the 11th a photo was posted by Justin of Tom, Russell and Ed at Schipol Airport. My first thought? They're working with Rahi again. I've made that association with the Netherlands and Mr Rezvani and it seems like it's fairly well embedded. It was actually more of a hope than a wish, because if he's still a part of the Editors family then you know good things are going to be happening. As it turned out, that was exactly the case. The band were putting together a video for the song Upside Down, with a teaser trailer for the final results being shared on the 30th.
When the full promo dropped, the comments section of YouTube proved itself to be a treasure trove of amusing and contradictory opinions. Some people liked it, some were suitably appalled. Did you know that Editors used to be a rock band? They should probably get back to doing that immediately!
Nah.
This isn't the first time we've heard this kind of knock on the band, is it? It totally negates the fact that Editors have always been a pop band...who knew how to rock out. Go see them play live and tell me I'm wrong. If you scrutinise the back catalogue and you'll see evidence of their mainstream ambitions everywhere. The claim that singles like Munich, Bullets, Smokers and Papillon weren't looking for as wide an audience as possible is ludicrous. They even said in interviews during the 2007 AEHAS campaign that they were specifically writing big, accessible songs. That's 13 years ago. The only thing that's changed is that they've become much more overt about it and less hung up on the judgement of the credible intelligentsia. With that being said, Frankenstein is a pop song, pure and simple, but a look at the promo video for it will tell you that that gleefully maverick spirit of subversion is still alive. It's like they can't help themselves sometimes.
When the full promo dropped, the comments section of YouTube proved itself to be a treasure trove of amusing and contradictory opinions. Some people liked it, some were suitably appalled. Did you know that Editors used to be a rock band? They should probably get back to doing that immediately!
Nah.
This isn't the first time we've heard this kind of knock on the band, is it? It totally negates the fact that Editors have always been a pop band...who knew how to rock out. Go see them play live and tell me I'm wrong. If you scrutinise the back catalogue and you'll see evidence of their mainstream ambitions everywhere. The claim that singles like Munich, Bullets, Smokers and Papillon weren't looking for as wide an audience as possible is ludicrous. They even said in interviews during the 2007 AEHAS campaign that they were specifically writing big, accessible songs. That's 13 years ago. The only thing that's changed is that they've become much more overt about it and less hung up on the judgement of the credible intelligentsia. With that being said, Frankenstein is a pop song, pure and simple, but a look at the promo video for it will tell you that that gleefully maverick spirit of subversion is still alive. It's like they can't help themselves sometimes.
Lastly, the 31st of January was the day that the UK left the European Union. and it was a surreal but gently numbing experience that's dragged on for almost 4 years; a sour aspect in the sweetness of life. To watch it finally reach its conclusion brought only a guilty (and unwanted) feeling of relief. I was bereft of any of the much-lauded excitement that most news outlets were programming me to adopt. No flag waving here, no Rule Britannia, say hello/wave goodbye.
If you've been unfortunate enough to experience partnerships-gone-bad, you'll probably know that wanting to retain civility after a break-up is a delicate feat of balance that usually only results in estrangement and acrimony. Often, at least one party is unable to look past what brought about the malaise, something that can gnaw at their sense of righteousness. I don't know how this will shape the future. As a counterpoint, though, I don't feel like this was ever about us as people. Transparent, career politicians with grand ambitions and knives to sharpen shouldn't be permitted to break those basic, human ties that transcend arbitrary borders and connect those with open hearts. I see through it, and I see through them, I hope you do too.
To Europe, and the wider world, "We can still be friends" is only a cliche if you don't mean it. I do. Nothing's changed.
Editors Instagram January 2020
download here or download here
For all of Editors' previous Instagram posts, go here.
brought to you with lots and lots of lemming-love :) x
