Louis out by name with requests for audience participation. Kapranos, more sprightly than ever, made a compelling case for his nomination as the Hardest Working Frontman in the Business, bounding and scissor-kicking his way across the stage in sharp black suit, repeatedly calling St. Julian Corrie worked the synth with a guitar strapped to his back, occasionally stepping up to the mic for one backing lyric at a time. Bassist Bob Hardy made magic with deft fingerwork creeping like the nimblest spider up and down the fretboard. Dino Bardot and Alex Kapranos’ guitars were works of art in their own right, in stunning teal and magenta compliments or black and tortoiseshell veneer. “Take Me Out” brought all the strings to the front of the stage for a bit of choreographed bravado, though drummer Paul Thomson unfortunately remained in the shadows at the back of the stage for most of the night, making it difficult to gawp at his crisp and precise delivery across the set. Whereas opening acts seemed fueled by a raw sense for the moment, Franz Ferdinand felt a more crafted sound and experience, working hard to engage the audience. They covered all the favorites, including “The Dark of the Matinee” and “Michael” from the self-titled album, fan favorite “Do You Want To,” and “Ulysses” in the encore set. In the years since the first album came out, Franz Ferdinand has accrued a hefty catalog of songs to fill an hour-and-a-half set with few, if any, unknowns or lesser-known tracks. The band seemed energized with their new members and material, making the old tunes feel brand new and hot as ever. While all three acts are technically classified in the “post punk” category, their respective sounds betray the shortcomings of such a limiting and inadequate a concept as "genre." Franz Ferdinand brought a hyper-organized, impeccably-timed set to the evening, opening up with their brilliantly disco-inspired dance tune, “Always Ascending.” A whiff of LCD Soundsystem and a touch of Bowie’s “Fashion,” the newest single seems built for opening a live show with its soft vocal intro bursting into irresistible dance beats and bright harmonies. Guitarist GL Jaguar shredded away in his corner for a selection of fast-paced, punk-inspired tunes, sometimes repeating commands à la Romeo Void’s “Never Say Never,” other times allowing drummer Daniele Daniele a turn at spoken word from behind her kit. Bright, bold silk flowers sprawled across the drums and keyboard complimented singer Katie Alice Greer, shrieking like an angry wrestling announcer in a safari hat, high-waisted jeans and high tops, "Footloose" dancing and gyrating across the stage. Louis, we can hope for more serendipitous creation opportunities around town in the months to come.Īnd then for something completely different, Priests growled, glowered and glowed in kinetic neon pink dissonance. Newly inserting himself into the live music scene in St. Ambient, shoegazey and experimental, Ronald adds elements one at a time and introduces a variation on the theme with each pass, resulting in a unique and complex creation borne precisely in and because of a synchronous moment in time.
Once a multi-instrumentalist music collective, the sound is now a one-man ambling construction of sounds and loops. Louis since the original lineup dissolved in 2015. Originally hailing from Glasgow, Scotland (same as Franz Ferdinand), Remember Remember’s anchor, Graeme Ronald has relocated to St. Opening acts Remember Remember and Priests played in satisfying contrast with one another as well as the headliner, making for a diverse and well-rounded musical evening at The Pageant on May 2. Fast forward so many years later and they still sound fresh as a bunch of Scottish daisies playing tracks off their exceptional newest release, "Always Ascending," along with a healthy sampling off the debut album and a hit compilation of singles and EPs released in between. Louis met the band at the Pageant when they toured their stunning debut album in 2005. But it’s true – the world met Franz Ferdinand in 2004 and St. I was stunned to realize it has been 14 years since Franz Ferdinand’s self-titled album and anthem single, “Take Me Out,” first introduced to the world their distinctive take on dance rock.
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