CHECK OUT THE AMAZING SHOTS FROM THE SHOW HERE

Bloc Party reacquainted themselves with Melbourne audiences tonight in spectacular fashion (the odd jetlag induced error aside!). Being the first show of yet another sold out tour of Australia, expectations were high, but Bloc Party managed to slake the capacity crowd’s thirst with a heady mixture of tight musicianship, infectious rhythms, an impressive light show and hit song after hit song after hit song.

The earlier start time of the show meant that this reviewer only managed to arrive in time to see the last few songs of local indie darlings Van She. I have already gone on record on this site concerning my thoughts about this band, and tonight did little to change that opinion, though they were more tolerable this time around. Set closer Kelly was actually a half decent song.

Not that it mattered. The anticipation built considerably as the entirety of Festival Hall waited for their heroes to emerge. A huge roar erupted from the capacity crowd as the looped vocals of recent single Mercury blasted across the venue. One of the more overtly beat orientated songs the band have produced thus far, it proved a driven opener. If Hunting For Witches kept the pace up and the crowd began to enter a frenzied state, then Positive Tension created the very phenomenon alluded to in the song title. At the point mid song where the guitars, drums and vocals build to a peak, the crowd all sang the line ‘So fucking useless’ as one, and the night was off to a flyer. There was now stopping the band, or their audience, now.

Drummer Matt Tong obviously felt it too, as he had his shirt off before the band kicked into Trojan Horse, the duel guitar work of front man Kele Okereke and Russell Lissack proving an added bonus. Blue Light slowed things down some, showing a warmth and depth that is often missing with apparent new wave of electro rock outfits (Are you reading this Van She?), and allowed the crowd to take a breath. Song For Clay built slowly from a quiet beginning, maintaining the ambience before exploding into one of the more intense songs of the night. Huge guitars were underpinned by thumping drums. You could feel the crowd moving as one as the floor strained under the weight of each collective landing. When the band immediately went into Banquet the crowd now clapped their hands over the heads in unison. A huge roar that surprised even the band announced the end of that song, and the atmosphere was palpable.

Quieter moments littered the highly charged set, including the tender xylophone provided by bassist Gordon Moakes during Signs and the beautiful This Modern Love, offsetting the energetic ‘song from the hit factory’ Talons and haunting The Prayer. Set closer Like Eating Glass built superbly before an apparently jetlagged induced timing error forced the song to be stopped. A bout of good natured blame shifting ensued before it was decided that the entire song the needed to be started again, complete with the crowd putting their hands back in the air, layered guitar work and possibly the most hectic drum beat of the set. The second time proved a resounding success as the band exited the stage with the crowd in raptures.

A deafening racket welcomed Bloc Party back on stage for the odd yet punchy Ares and the all out rock of Halo, again featuring some welcome duel guitars throughout. Flux paid homage to a rave culture born and bred in Britain as its techno beats and vocals were accompanied by the requisite laser show. Helicopter ended the night in frenetic fashion, the song seemingly getting faster as it went on (at least one drumstick flew into the air in pieces) as the band barely contained themselves until its end. Second encore Price Of Gasoline failed to capitalize on the energy of the night, but then again who cared!?

Bloc Party were a phenomenon that was hard to ignore. The band and the crowd shared a relationship tonight that is rarely seen. Grown men were dancing with abandon, people were sitting on each others shoulders (at one point some brave souls were three high), everyone was on their feet and singing as one. Clearly Bloc Party have a devoted and passionate legion of fans. Born equally out of a rave culture and the rampant Brit Pop epidemic of the 90s, Bloc Party are the Radiohead for a new generation, and are undoubtedly one of the best bands in the world. They have helped define a genre of music and are to this day at its forefront, blending intricate drumming and bass lines, honest lyrics and clever guitar work to construct highly memorable and catchy ‘pop’ songs. The fact that it all comes together live is simply astounding, as was tonight.