Live review
Eagulls spread their wings at London live return
Often pigeonholed as snarling, spitting maniacs, Eagulls instead exhibit a statuesque calm on stage this evening.
After six long months away from the stage, Eagulls are in uncharacteristically good spirits as they make their return to Oslo. “Good evening,” smiles frontman George Mitchell, diving straight into an euphoric ‘Lemontrees’ as all manner of psychedelic imagery churns away behind them.
It doesn’t take long for chaos to erupt, though, ‘Tough Luck’ inciting a swirling pit that only grows in stature as ‘Yellow Eyes’ and ‘Nerve Endings’ are whipped out with typically furious pace. George remains nailed to the spot, the ringleader of it all. Often pigeonholed as snarling, spitting maniacs, Eagulls instead exhibit a statuesque calm on stage this evening - a sense that the Leeds five-piece are in complete control. It’s reflected in their set-up too, their projections adding new dimensions with every flicker.
Newer material takes the fore from then on out, the live debut of ‘Ullages’ tracks allowing Eagulls to spread their creative wings like never before. A tape player to George’s right becomes the unexpected star of the show as he stabs at it with his microphone, amplifying the eerie recordings within. The screech of the tape being rewound signals the arrival of ‘My Life In Rewind’, before a seemingly endless echo of reverb takes hold of its chorus, dragging the track back into the shadows.
“Ecstasy still lives on, in this age,” George announces ahead of ‘Euphoria’’s live debut, a brief moment of hope among all the gloom. Softly shimmering away, it’s a no less bleak depiction of modernity, but is painted in watercolours rather than jet black oils. ‘Skipping’ veers closest to that darkness of the first record, its thundering bass line leading the way, but it’s not until calls from the crowd for a set-closing ‘Possessed’ are rewarded that they sink back into full-on fury.
There’s always been more to Eagulls than just fire and brimstone. As ‘Ullages’ takes centre-stage, those widescreen ambitions finally look set to be fully realised.
Photos: Robin Pope
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