Live Review: Spector

KING TUT’S – 19/10

The dim synth chords synonymous with Spector pulsate as ‘Never Fade Away’ kicks off the band’s return to King Tut’s. This track is the perfect start up for the show – a huge hit from their debut LP Enjoy It While It Lasts, it encompasses everything there is to admire about Spector as a band: from frontman Fred Macpherson’s lyrical charm brushing over the heartfelt melancholy, to the playful instrumentation contrasting with it all.

Their newer material is welcomed just like one of their original indie dance floor anthems; from the opening riffs of ‘Stay High’ the excitement is almost tangible.  Hearing the lyrics sung live just highlights how clever Fred Macpherson can be when it comes to translating somewhat low-brow references into a love song, in the shape of a power chorus worthy of air punches.

‘Decay of Decay’ comes next, which showcases the band at their most Joy Division-y, but they soon pick the pace back up by throwing back to ‘Twenty Nothing’ mapping tonight’s setlist out to host a show full of lyrics about the trials and tribulations of dating in the 21st century.

Spector like to play around with your expectations, so they take another turn back to their slower, less angst-ridden tracks. The atmospheric production on the interlude ‘Cocktail Party’ integrates well with the live show as the tropical sounding music is chilled enough to create a massive swarm of hype when the intro to the almighty ‘Celestine’ follows.

For the entire show, the frontman is positioned as close as the stage will allow to the crowd, occasionally delving even further to exert his influence over them.  It’s a strangely intense and hypnotic affair as he points out when people don’t get the lyrics right and try to play it off, or when someone doesn’t look that impressed with a particular song choice.  But mostly, it looks like he just wants to join in with the audience as they lose themselves to the distant echoes in the jangly guitar riffs of ‘True Love (For Now)’.

‘Chevy Thunder’, the song that threw Spector into the limelight over three years ago, is prolonged by Macpherson tonight, commanding the separation of the crowd, Moses-esque, before inevitably turning King Tut’s into one incredible mosh pit for the final blast of the chorus.

Finally, Spector decide not to even bother leaving the stage before performing their encore, ending on an oddly melancholic moment of euphoria with ‘All The Sad Young Men’ – a move only Spector could perfect.

[Stacey Anderson]

Leave a Reply

%d bloggers like this: