Glass Animals at Whelan’s, Dublin, 18th October 2014
Occasionally, a band comes along that demands your attention – a band that has had so much hype drummed up about them, that it’s difficult not to buy into it.
Enter Glass Animals, the Aussie psych-rock upstarts that featured on every Electric Picnic related playlist in the run up to the festival. Their captivating beautiful debut ‘Zaba’ catapulted them to success and allowed them to return here this month.
The audience is won over immediately by their Oxford drawls, pulsating percussion and creepy keys. However, throughout the entire performance, frontman Dave Bayley struggles to decide what direction to take the show in.
His signature raspy growls are gorgeous, but he fails to project his voice loud enough against the groove-driven drums. Throughout tracks such as Gooey, it becomes impossible to hear him clearly. However, when he manages to hit the mark, his quivering notes seem to do laps of the venue.
What he lacks in vocal power, he makes up for in showmanship. A grin never leaves his face as he gesticulates wildly during the set, and his delivery at times is menacing.
“I’ve gotta say … You guys are nuts man,” he laughs.
Admittedly, Glass Animals sound is defined by their expansive instrumentation, and here is where they deliver. Hazey is laden with guitar licks. During Walla Walla, a tambourine is presented and played almost violently, and the synths purr along with the frenzied guitars. The crowd is enveloped with sound. However, again, Bayley starts to squawk mid-song, with the vocals sounding increasingly forced.
The band have a great energy, best displayed on Flip. The beats sound R&B inspired, with Bayley standing on the drumkit thrusting to crashing symbals. The guitars take on an orchestral quality during Toes. However, at this point, the similarities between every song become glaring, with the verses following almost the exact same pattern.
Ironically, Bayley sounds strongest during the only cover of the night, Kanye West’s Love Lockdown. The synths and percussion retain their spooky nature, providing the backdrop for a refreshing version of the track.
Concluding with Pools, the percussion remains unrelenting, with that and the bass becoming the driving force behind the performance. Witnessing a much praised band (with the talent to back it up) deliver an inconsistent set is disappointing to say the least. However, given the standard of the band, Glass Animals’ imminent return in March – that gives them plenty of time to tie up these loose ends.
Glass Animals Photo Gallery
Photos: Aisling Finn
