Sheffield Plug
A lot can happen in three years. Back when The Sunshine Underground last appeared on the live circuit their brand of danceable indie was refreshing, somewhat bracing. Now they face competition from a revitalised set of upstarts with the likes of Friendly Fires and Hot Chip now taking the plaudits. Maybe this competition could explain the muted welcome that greeted them, or perhaps Tuesday night is not exactly party central. With a new album to promote, the Leeds-based outfit had something to prove and launched into the bass heavy call to arms, ‘Coming To Save You‘. If their opening salvo was to set the tone, then lead singer Craig Wellington’s vocals were emphatic; not so much a lesson in singing but more bellowing. The track was a predictable choice to open their set as it gave an early chance to delve into new album, Nobody’s Coming To Save You, but even their back catalogue suggested an added bombast as ‘Wake Up’ hinted at a newfound maturity.
One of their more gratuitous weapons is utilising the bass guitar as a lead instrument, gifting a menacing drone which underpins each track. Elements of their set remained eminently danceable such as the funky yet sketchy ‘We’ve Always Been Your Friends’ and a rendition of ‘Commercial Breakdown’ that commandeered crowd participation. Granted, fans only had a few days to become familiar with new tracks yet the likes of ‘In Your Arms’ and ‘Warning Sign’ stood up well to their more stellar predecessors and showcased a more reflective side. Familiarity should breed contempt but in this case while the new tracks barely deviated from more recognisable material, they did maintain attention and retain momentum. So much so that ‘Borders’ almost sounded apologetic until an appreciative crowd took over lead vocals from an outfit only too obliging to prolong the emphatic verses. For a band renowned for rhythms to groove to, this was a sublime moment of band and crowd interaction to prove that less can be more.
By this point, Wellington had grown in confidence to the point of jabbing his finger in the air during ‘Spell It Out’ then allowing an inspiring vocal performance to take the plaudits during ‘Change Your Mind’. You could be allowed to wonder what might have been, or may still be, during ‘The Way It Is’; as the track gradually built to a crescendo to evoke The Rapture in their pomp. In comparison, ‘The Messiah’ sounded strangely out of place with its sweeping vocals and disparate guitar. With that the band exited the stage only to quickly return, and after an extended instrumental, ushered in the encore of ‘Put You In Your Place‘; as understated and evidently triumphant as their set.