CHECK OUT THE PHOTOS FROM THE SHOW HERE.

If there’s one word to describe the night that, after five years, Jason Pierce and his six-strong backing army took over the Metro Theatre, it would be – œvisceral’. And not in the sense that it was such an awesome night that proper sentiments fail it, yet that the experience never truly sets in as one clear emotion or feeling. Sure, immediately after I may have been pleased – even elated – to have seen Spiritualized play for two hours straight, but there’s more to this show than just that. In fact, I have trouble recommending his live show again.

First off the blocks, however, were Silver Apples. Or more correctly, Simeon Coxe III carrying the moniker of Silver Apples post-death of drummer Danny Taylor. Bopping slowly to his own grooves at an age that’s almost thrice the usual electronic acts, he captivated most with music created via his self-constructed synthesisers. Unfortunately the lack of respect of some early punters, who talked loudly through the latter half of the set, dampened the mood.

When Spiritualized approached the stage, complete with two gospel singers and renowned guitarist Doggen, the first thing you notice is Jason Pierce’s likeness to a contemporary teenager: large dark shades, baggy jeans and a thin white shirt emblazed with some sort of cultural reference. And after a small toy instrument was played, they delivered every ounce of themselves into their own unique version of Amazing Grace. If there’s one thing you have to credit Spiritualized for, it’s their musical ability. Their vast sound easily outnumbered the performers on-stage.

Yet, in an audience that included members of Bridezilla, Warren Ellis and the entire Sydney music blogosphere, it felt like Jason Pierce had constructed one huge, impenetrable fourth wall between us and them. There was little interaction minus the solitary applause post- Ladies and Gentleman We Are Floating In Space. In addition, he extended and improvised instrumentals beyond acceptable levels.

The audience responded as they would; some danced like they would at home, others closed their eyes and tilted their heads back. Seeing as the stage was now there to produce music instead of a performance, they wanted to soak every second in like a drug. For a man that writes and produces music that resonates so much which the individual’s emotions – the clear superior amongst the likes of Ben Gibbard and Conor Oberst – he lacks the ability to completely bring that individual connection to the stage.