Saturday evening and after the ravenous turn of events the previous night, Franz Ferdinand were under some pressure to perform. After flames, evacuations, power cuts and a freak windstorm, this was a crowd that did not just need entertaining, this was a crowd that damn near demanded it. Only a few moments into their entrance and the insistent, show stopping riff that preludes 'No, You Girls' sets the tone. This is the start that everyone wanted; overindulgent and forcibly dripping in bravado. No riot here tonight folks. If it was entertainment that was required then this was pure theatrics, from lead singer Alex Kapranos’ playful guitar thrusts to each mischievous riff. 'Do You Want To' seemed made for such a valiant performance, leading the crowd away with a bevy of showmanship that put paid to the previous night’s disaster.
Thankfully the only reference to flames was an incessant rendition of 'This Fire' followed by a fiendish rendition of 'Turn It On' which revelled in its own eroticism. Their showmanship was never in question; while 'Auf Achse' basked in its own blatant clandestine apprehension, an extended '40ft' proved the band know when to give the people what they want. As leader for such debauchery, Kapronos relished the opportunity; roaming the stage with a cheeky menace throughout. Even the stage appeared poised to mirror the band’s illicit repertoire with dark, seductive base colours drowning in a thick smokescreen, as if staring at the band was forbidden itself.
'The Fallen' impressed with its convincing buoyancy yet became a valiant prelude for the song that everyone was waiting for. As the first insistent strum of 'Take Me Out' rang throughout the site, the bass drum kicked and everyone knew what was coming. Granted, the band milked the opportunity for all its worth but such a moment needed to be memorable. What followed seemed a release, a chance to fully expel the memory of the previous 24 hours even if your tent had been blown away. Armed with such a show stopping track it seemed odd that 'Outsiders' should complete the main set.
'Ulysses' ushered in the encore with an urgency, as if the line "C’mon doll and use me. I don’t need your sympathy" was more an instruction made for tonight than a mere lyric. 'Matinee' playfully charmed the crowd while 'Michael' almost sounded repulsive in its delivery, suited to entertain rather than allure. That the performance ended on the long-winded 'Lucid Dreams' may seem ill-suited yet after the previous night’s events it took on a new meaning.