I don't think I've ever seen a higher concentration of goatee beards/patterned jumpers/thick-framed glasses in one place than during Alt-J's set at the Manchester Academy (not that I'm complaining particularly). And whilst the eccentric British indie breakthrough band may attract a relatively niche crowd in terms of age and fashion taste, they really seem to have accumulated a widespread appreciation that spans from the underground scene of up and coming artists right through to the mainstream expansiveness of Radio 1 listeners. Despite only having concluded their student lives recently themselves, the four-piece, hailing from Leeds University, have recently basked in the success of already-anthemic tracks from their 2012 debut, 'An Awesome Wave', namely the soft guitar-infused 'Matilda' and the infectiously punchy and dynamic album front runner 'Breezeblocks'. The live response was overwhelming.
Whilst boasting excellent instrumental dexterity and complimenting the overall sleek and ethereal tone to the evening, support bands, the synth-infused Florida-hailing 100 Waters and New Zealand-based electropop ensemble Princess Chelsea, were more than a little flat and repetitive in comparison to the headliners. They were certainly abundant in the chilled electronic vibes Alt-J are so adept at emanating, but the slight lack of zeal from both support acts, particularly 100 Waters, made for a somewhat restless crowd as the main headline slot of the evening approached. As the art rockers finally graced the beautifully decorated stage, hung with incandescent backdrops emulating their album artwork and peppered with glowing flower-shaped lights, an unforeseen frenzy ensued, welcomed by the band who were clearly incredibly humbled by the cheers as they plunged into the electro-infused guitar twangs of 'Intro'. As was the case for the duration of their set, the culmination of each of their unorthodox playing styles fused together exquisitely, each member boasting ultimate confidence and natural aptitude in their area.
The artsy student-laden crowd chanted along fervently with the effortlessly smooth united harmony of lead singer, Joe Newman, and keyboardist, Gus Unger-Hamilton, as they performed 'Interlude 1'. One thing that really struck me as the band led enthusiastically into the enigmatic and imagery-laced 'Tessellate' was the way the bass of their tracks transcended so strongly into a room of such large stature in comparison to the studio in which it was presumably recorded; the buzz of the electronics, gritty bassline and smooth hum of the keyboard could be felt rippling through the walls of the venue, atmospheric and blissfully indulgent to witness.
One of the most enchanting things about the four-piece, who have experienced a rather rapid rise to fame after releasing 'An Awesome Wave' just under a year ago on 25th May 2012 and went on to scoop the coveted Mercury Prize earlier this year, was how delightfully unassuming they were. The way they grinned to themselves as the crowd sung back the lyrics to even some of their lesser known tracks, namely 'Dissolve Me' and 'Handmade', indicated a real appreciation for the reception they've encountered in the whirlwind of speculation since the album release. Urban music scenes such as Manchester, the location of tonight's gig, Leeds, the city of their formation, and London seem to have responded to their unique and unconventional culmination of genres particularly enthusiastically. Unger-Hamilton even pointed out that 'we've always found that Manchester were the first scene that really got us', met with a tumultuous reply of cheers from the onlooking crowd. 'Breezeblocks' was most definitely the pinnacle of the evening. As the second and probably best-known single of the record, the track was the mouthpiece for Alt-J's refreshingly novel approach to instrumental arrangement and Joe Newman's raspy vocal style. The staccato 'la la la' which separated each line of the song added edginess and punch, building up brashly into its chorus of 'muscle to muscle and toe to toe, the fear has gripped me but here I go', sung back at deafening volume by the crowd, who had evidently been awaiting what is arguably the crowning glory of the album with bated breath.
Progressing into what could be described as one of the album's more emotional ebbs, 'Matilda', fans reunited once more to join Joe in singing 'and she needs you, this is for Matilda'. The song has received extensive radio play over the past few months and was played with natural sublimity thanks to the soft guitar strumming woven throughout its delicate harmonies. Similarly played and received was 'Something Good', which was especially beautiful to listen to as the rise and fall of the piano accompaniment tied in with the hollow drum beat and gentle high notes of 'get high, hit the floor before you go'. Noted for their quirky lyrics drawn from classic films, art and literature, the ground-shaking bass and crescendo-like chorus build-ups made 'Fitzpleasure' another particularly popular number, stirring up even more of a buzz in the crowd which made their concluding encore song, the Middle Eastern-flavoured 'Taro', even more of a spectacle. Topping off the glittering creativity and idiosyncrasy of the evening in one fell swoop, the crowd joined in unison once more to shout 'Hey Taro!' as the final track came to an end and left the crowd yearning for even more. It's unbelievably impressive to think that such heightened originality could possibly exist in the minds of four recent university graduates: their humbled surprise at the hugely positive response they received exemplifies exactly why they've had such a profound effect on the UK's indie music scene. And if their Manchester gig is anything to go by, future possibilities for this intriguing ensemble are limitless.
Fitzpleasure - Alt-J (Manchester Academy: 9/5/13)
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