Pic: Talie Eigeland
To the right, a bassist cuts a solitary figure on stage, blending in to the backdrop and hiding from the spotlight. On the left a guitarist does the same, his instrument craving the attention denied by its master. Between them, central, howling to the Leadmill crowd is Susanne Aztoria, the striking blue of her eye make-up and haunting tones of her voice the focal point of Trailer Trash Tracys, the inappropriately named opening act bewitching the audience with their own blend of shoegazey atmospheric pop-rock. It’s different, it’s interesting and the crowd take notice.
It’s when they leave the stage that the excitement starts to build however, a sea of nervous fingers texting away, chequered shirts drinking from Gaymers cans and high-heeled girls chattering in circles as the tension mounts. As the seconds tick by the atmosphere builds, a packed Leadmill eagerly awaiting the arrival of their heroes.
The Maccabees stroll onto the stage, their collective posture exuding cool but a subtle nervousness as they play their first gig of the New Year. ‘Child’ from their new album ‘Given To The Wild’ is a bold opener, but it pays off in style – the tempo changes at will, the crowd bounce and the trio of guitars dance around each other confidently behind Orlando Weeks’ crystal clear vocals. It’s an electrifying start, and as they rattle through the first few songs you would never have guessed that this was their first gig in a while. Strobe lights pulse between a band clearly enjoying themselves on stage, their natural swagger shining through as the music builds, drinks fly from the crowd and one daring crowdsurfer is ejected as early as the third song. The Maccabees have the crowd wrapped around their little fingers, and they’re enjoying every second of it.
‘First Love’ sees the band in full flow, Weeks shadow boxing on stage as his adoring public crush against the barrier, singing along to the anthemic chorus with hands clapping to the heavens. The lights dance between a dusky blue and a vivid red, the band drift effortlessly between the old school indie hits of their early years and the darker, expansive sound of the new record, and the crowd lap up every hint of smug confidence generated by a superb performance. ‘Love You Better’ has Leadmill alive with energy, but it is ‘Wall Of Arms’ which is the true pièce de résistance, the grand finale complete with funky bassline, a chorus from the crowd and a crescendo worthy of any stage.
The encore is inevitable, two more from the new album alongside a triumphant performance of crowd favourite ‘X-Ray.’ The second time they positively bounce off the stage, the whole gig a celebration of a band at the peak of their powers. Leadmill empties quickly, the street outside abuzz with recollections of a night not to be forgotten.
By Rob Dillon.