The techno-dystopian party mood continued with the house-inspired The Waves: “Suddenly we’re fallin’ through the twilight zone/Watch the party playing out in slow motion,” crooned Smith.

Spooky reverb guitar brought in Icarus, overlaid by a computerised Alexa-like voice. Combined with a constantly evolving backdrop – a glowing red moon, pixelated internet-scapes, a multicoloured tunnel filmed to make you feel like you were barrelling through it – the high production values almost felt like watching a music video, live.

Frills aside, hand-clap stadium pop driven by big, atmospheric drum beats remains Bastille’s bread and butter. Marshmello collaboration Happier was all feel-good dance pop, a vibe that carried through to the glossy, gospel-charged Joy. The chemistry between band members was palpable, too – there’s nothing better than watching a band who obviously dig each other.

Then, finally, the instantly recognisable introduction to Pompeii began – the echoing vocalising that Smith calls “the two syllables we somehow made a career out of”.

Making the most of their distinctive, echoing sound, Bastille came through with a visually compelling show to send off the world.



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