Following the release of their fourth studio album, Give Me The Future, Bastille’s frontman Dan Smith, as well as touring member Harry Barnes, took the stage of Nottingham’s ‘The Level’ to showcase their new music. Mia Versluys reviews.
From the release of their debut album All This Bad Blood in 2013, the band's rapid worldwide success is one that cannot be contested. With singles Pompeii and Happier charting globally at Number 11 and two respectively, you will struggle to go anywhere without hearing Smith’s lyrics over the radio. Despite their success however, Bastille have never lost their sense of originality and humility. This is a band whose members largely shy away from stardom, allowing for music to speak where words perhaps fail. For many artists who reach worldwide acclaim, an intimate ‘indie record store tour’ would be out of the question, but for Bastille their passion for the music transcends all other concerns.
Having never been to an intimate show before, I entered ‘The Level’ with few expectations except for an hour of high-quality music and an escape from my mounting university work. Only one of these was met. Upon arrival, I encountered many Bastille fans struggling to see over the heads of others, with late arrivals searching aimlessly for a good view of the stage. Being a ‘standing only’ venue this was to be expected, and while some appeared to complain others became resourceful, standing on booths and chairs to get a good sight of the musicians.
Dan and Harry entered promptly, sitting at keyboards opposite one another with an array of instruments surrounding them. The duo opened with a rousing arrangement of Future Holds, the closing song of their latest album, and through the rhythmic drumbeats, varied dynamics and appropriately timed coloured lighting, Bastille created a lively and exciting sound that appropriately primed their audience for the following set. With no backing track in sight, this truly was live music. A commonality throughout the performance was the live recreation of their studio produced songs, by using midi instruments, an electro-acoustic guitar and vocal harmonization, Dan and Harry produced a unique listening experience that was by no means a ‘stripped back’ rendition, but rather an entirely new adaptation of their already popular songs, creating a sound that was almost as futuristic as their latest album's themes.
''Bastille not only enhanced the entertainment value of their set but also truly made their audience feel comfortable and involved''
Living up to the name of their ‘intimate tour’, Bastille made audience participation central to their performance by integrating recorded audience vocals into the chorus of Shut Off The Lights and creating lyrics from the ‘weirdest dreams’ of select audience members. Also speaking casually throughout, Bastille not only enhanced the entertainment value of their set but also truly made their audience feel comfortable and involved in their performance, an experience that listeners would perhaps struggle to find in the band's stadium tour this spring.
Having only released Give Me The Future five days prior, the band ensured to play a blend of familiar classics as well as newly released tracks, providing their audience with the opportunity to sing along as well as listen attentively during the staging of new work. I particularly enjoyed the band's recreation of Power from their 2016 album Wild World, as well as their 2018 single Happier. With the chorus of crowd vocals that could be heard throughout the renditions, it was apparent that the audience held similar views. At the close of the hour, Bastille wound down with fan favourite Pompeii, followed by the newly released Shut Off The Lights. Its thick and energetic texture created by Harry’s loop station providing an exciting juxtaposition to the largely acoustic arrangement heard in Pompeii, skilfully leaving fans pining for more.
Bastille’s performance at The Level, was a truly unique and exciting experience, a belief I expect was shared by many of those in the audience, whose chants of Pompeii could be heard throughout the streets of Nottingham following the band's exit. Bastille’s innovative performance of their exceptionally thought-provoking album, tackling ideas relating to the future and desires for escapism, proved to a big hit with fans. As we approach a new and uncertain ‘post-covid’ world, it quickly becomes clear why.
Mia Versluys
Edited by: Amrit Virdi
In-article images courtesy of Mia Versluys. No changes made to this image. Permission to use granted to The Mic.