@ Shepherd's Bush Empire, London, 28 September 2009
The xx
Rather than take it easy on the eve of their biggest headline tour
so far, The xx were instead ending a nationwide series of sold out
concerts supporting fellow Londoner Florence And The Machine.
While she ruled over the night, it provided a good opportunity
to see how things were shaping up for the moody foursome from Putney
ahead of their next chapter on the road.
With an album likely to feature on many a best-of-year list,
they've managed to acquire quite a profile and there was an
appreciative audience waiting for them to arrive. That's despite them
appearing to be the polar opposite of Florence, the lady most people are
here to see.
Where she is loud, brash and over the top, as demonstrated
later by her typically theatrical show, The xx are quiet, downbeat and
minimal. Yet in fact there is common ground. Both acts drip with
drama. They're both full of emotion and are able to provoke reactions
and wrench hearts with the worlds they create. So while some might not
be sure about this seemingly out-of-place act, they're enjoyed by the
majority.
The richness of the album, xx, is obvious as singers Romy and Oliver
lead us through some its highlights. While not staying entirely true
to its order, VCR, Crystallised and forthcoming single Islands all
appear early in the set, as they do on record.
Then it's time for their
traditional live cover of Womack & Womack's Teardrops. It
is stripped of its original dancefloor appeal and injected with
ghostly guitar strumming and heartfelt vocals. It adds a wholly new
dimension to a familiar song, and as their voices play to each other,
the benefits of the interplay between girl and boy is
demonstrated.
On the subject of their voices, their styles are laid back and
effortless. Romy tends to hit her notes more frequently than Oliver
does, but that doesn't matter too much. As long they're somewhere in
the vicinity of accuracy, the mood is kept. As expected, everything
else is similarly low key, from their outfits (all black, naturally) to
their postures (all four stand at the front of the stage looking
down). Romy's fringe in particular makes it hard to see her face.
But
it all seems honest; they come across as genuinely quiet people who
are making music that has somehow brought them to this big stage. Some
may argue that a bit more showmanship would destroy the atmosphere,
but if that's to come, it will come with time, experience and
confidence.
What is amazing is that they can make such addictive music out of
such bare melodies and instrumentation. But somehow they make the
listener want to hear more. Perhaps it comes from their love for r'n'b
grooves and their stated admiration for such commercial entities as
Mariah Carey, Aaliyah and Missy Elliot, but they
employ subtle hooks to draw you in to every tune.
As examples, Shelter
and Infinity appear as a glorious double-header of passion and beauty.
So simple and understated, they pack a heavy punch and insist on
sticking in the mind. Certainly a great debt is owed to Jamie Smith
who is responsible for the beat programming that adds a kick to
everything the band does. He even gets people almost-dancing to Night
Time at the close of the set.
The xx somehow manage to marry shoegaze with pop and
intense drama with relatable lyrics. They don't have a vast selection
of songs, but what they do have are superb. As they
begin the next tour in their new role of main draw, it'll be
interesting to see whether or not they add anything to the mix. But it
would definitely be worth going and finding out.
GIG:
