Metronomy Returns to Chicago
By Eric Hehr in Arts & Entertainment on Oct 30, 2011 4:00PM
Metronomy at Lincoln Hall. Photo by Ani Katz.
It’s been quite awhile since Metronomy crossed the pond from their native England to America, and it’s been even longer since they have made a stop in Chicago. In between their last Chicago show at Funky Buddha Lounge in 2008, and their Lincoln Hall show this past Thursday, Metronomy released their third full-length album, The English Riviera, which departs from the frenetic gypsy dance-rock of 2008’s Nights Out in favor of a luxuriant pop-rock sound that embraces the sonic slickness of Steely Dan and the volatile energy of recent Phoenix and Hot Chip.
Metronomy at Lincoln Hall. Photo by Ani Katz.
Metronomy returned to “the city by the biggest lake in the universe” - as bandleader and multi-instrumentalist Joseph Mount put it - equipped with a new lineup that includes Oscar Cash (Vocals/Keys), Anna Prior (Vocals/Drums), and Gbenga Adelekan (Vocals/Bass). The new additions to the Metronomy lineup have not only influenced the changing landscape of their music, but it has also brought a sense of cohesive unison to their live set. The primary component of this sonic and aesthetic enhancement is the Metronomy rhythm section. Throughout the duration of Metronomy’s hour-long set, Prior handled her drum kit with the methodical control of an old seasoned veteran, all the while keeping her chic sense of style intact. Adelekan’s poised sense of confidence was a resolute source of energy, and his octave-heavy dance bass lines kept the crowd constantly moving.
Metronomy at Lincoln Hall. Photo by Ani Katz.
The set was a steady blend of material from Nights Out and The English Riviera, plus a handful of instrumental interludes that recaptured the early electronic, dance-heavy days of Metronomy. Despite the vast sonic template of unique tones present on Metronomy’s recordings (think early 80’s Moody Blues meets Autechre), the band had no problem achieving the same sounds in a live atmosphere. This was mainly due to the multi tasking of Cash and Mount, who spent the set jumping from midi-controllers to guitars to synthesizers to saxophones. This intricate recreation of studio material was an illuminating insight into Metronomy’s attention to detail; an attentiveness that was as alert as it was entertaining, allowing both the crowd and the band to enjoy themselves while still adhering to the meticulous intricacy of their music.
Metronomy at Lincoln Hall. Photo by Ani Katz.
In today’s hyperactive, over-saturated musical climate, it has become harder and harder to go to a concert and cut loose. Music fans have become more jaded, cynical, harder to impress. Due to social media outlets and the instant accessibility of personal information, culture in general has become increasingly self-aware and contemptuous. Critical evaluation has taken precedence over simple satisfaction, leaving many concert attendees standing side-by-side, motionless, with arms folded. After attending a handful of concerts where the band looks even more bored than the stoic audience, it is refreshing to see an act like Metronomy bring forth a sense of vibrancy that can temporarily hypnotize a young audience into forgetting about trying to look hip and dancing for the sake of enjoyment, even if it’s only for an hour. More impressive than Metronomy’s knack for compelling an audience is their ability to do so without missing a beat - literally.