Blame the congestion on the 5 Freeway that caused the lack of heads to see Danish rockers Mew. Now having cracked U.S. soil for the first time, the prog-rock band set out to prove the opening act stigma wrong. Songs like “The Zookeeper's Boy” off its new record And The Glass Handed Kites were heightened by frontman Jonas Bjerre slightly ethereal, always searing voice leading the charge.
Over the last few years, some of the best of indie rock has come from our neighbors up north, the most preeminent of that scene being Toronto-based supergroup Broken Social Scene. The revolving door of multitask musicians set fit to grace L.A. was a strong 10, the stage held such BSS trademarks as the group's three-guitar attack, double drum clash and when appropriate, a good violin solo. Even as it did some good ole' shtick (Mel Gibson jokes), the band shoved all silliness aside with BSS favorite “7/4 (Shoreline)” showing sheer exuberance permeated with often manic musical precision.
It has been nearly a year and a half since Bloc Party released its critically acclaimed album Silent Alarm . In rock years it almost feels like an eternity. The wait though is over.
Kicking off with new track “Waiting for the 718,” the song sees the band go in a much different route than before – more melodic, even shimmering at times. Still this is Bloc Party, luv, the necessary tint of feedback still played a major part.
A raucous party rang throughout the night with such bangers as “Banquet” and “Helicopter,” but once “The Price of Gas,” lit; it caused a fritz with Okereke's guitar, sparking the night's only donnybrook. Blame it on the lax venue security up in front, but it sure made for a lasting image: hordes of Bloc Party faithful rushing the stage, mobbing Okereke.
Scissor kicks, fist pumping and the time-honored jump took place during the song. The scene resembling that of a Brit's dream: victory at the FIFA World Cup. Even better, no red cards in sight. Headbutts are allowed in post-punk.