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For Your Pleasure
The Prophetic Discordance of Ladytron Rocks The Ford Amphitheatre
-Daniel Hunt
20 years ago, if one were to ask what the sounds of the 21st century might entail, it would be easy to dream up lush electronic soundscapes of post-apocalyptic doom and the lyrical worries of an impending end. Although the present state of global affairs may leave some doubt as to our own survival as a race, it is comforting to know that in these times of woe it's still okay to dance. With a sound that echoes the post-modern crash of Krautrock meets Brit Pop, with a bit of cerebral seventies Prog rock thrown in for good measure, Ladytron, the Liverpool based quartet who burst onto the scene with their now classic debut, 604, have come into their own with the assured confidence of veteran stage performers. Comprised of members Mira Arroyo, Helen Marnie, Reuben Wu and Daniel Hunt, it would be easy to dismiss these children of a future age as mere tech junkies obsessed with finding and creating the perfect beat, such thinking undermines a deeper truth that soothes every sizzling hook. Musicians first and foremost, this band has gained a loyal following since their inception in the later part of the last decade with their relentless touring and astounding studio work. Now with their latest album, Witching Hour, the band has defined themselves and their music and was ready to take the stage of the John Anson Ford Amphitheatre in Los Angeles on the 17th of October to prove right to the crowd what their cult believed all along.
A prelude to the restrained chaos about to ensue, the Tron's performance was preceded by Forever Autumn, a cut from Jeff Wayne's operatic concept piece, The War Of The Worlds. Setting the stage with its brooding overtones of an intergalactic crisis, the lyrics, when examined, could very easily be seen as the best song Ladytron never wrote (or have yet to perform for that matter). The summer sun is fading as the year grows old/And darker days are drawing near/The winter winds will be much colder/Now you're not here, made especially eerie by the Ford's open-air nature, Wayne's music might seem an odd choice by some for a group with a sound such as Ladytron's. However, fans already acquainted with their eclectic tastes through the band's Softcore Jukebox release from ought-three should have felt right at home with such an overture.
Taking the stage as the War raged on and dressed in uniform black attire, Ladytron began their set in earnest with the first cut from Witching Hour, High Rise. Perhaps the most anthemic rocker the band has ever assembled, the song rose above its already stellar studio predecessor to create a searing call to arms. Eschewing the processed vocal track of the studio cut, the live High Rise served as a perfect intro for the night. Delivered with razor like precision by co-front woman Helen Marnie, the now crystal clear lyrics were such that they sent shivers down the spine, both for their dark beauty and surging intensity. Following a stellar rendition of Weekend, Marnie briefly addressed the crowd by assuring them that it was great to be back in L.A. Though there was little between song banter to be had this evening, the band spoke volumes through what really mattered: their performance.
While the on stage antics of the Tron was the main attraction, the band was keen to include a minimalist, yet fully appropriate multi screen and flashing light rig set up behind them. Never overpowering the group or the music, the visuals provided a terrific, layered backdrop to an already great presentation.
The standout performance of the first half of the show was unquestionably He Took Her To A Movie. Featuring the dual lead vocals by Marnie and Mira Arroyo that helped to make their debut long player as instantly endearing as it was, the performance was as thrilling as any. Throwing themselves into an extended exit for the number, the band thrashed and wailed as flickering lights from the rear pulsated wildly, culminating in an orgasmic crash of sound and sight that left the audience charged and enthralled.
Rather than continue to hammer the crowd away with thunderous beats, the band segued into Soft Power, a quiet, haunting piece that showcased the Tron's trademark knack for nuance. A knack that would reappear later in the performance in the form of True Mathematics and the consciously postmodern titled Beauty #2. Driven by the Bulgarian born Arroyo, Mathematics was the sonic equivalent of light piercing through clouds, if only for the fact that it was written and sung in a foreign tongue, while Beauty #2 displayed a hidden gift for the ballad.
The de rigueur performance of their underground hit, Seventeen proved to be filled with more energy than one might expect. Urging the crowd to "Come on," at song's end, Marnie engaged in the type of stage prowling that made stars of Deborah Harry and Shirley Manson adding a great touch of stadium rock homage to evening's set and perhaps giving us a glimpse of what might be in this still fresh band's bright future.
Closing their set with a faithful performance of Playgirl the band returned on stage for a raucous encore that opened with a cover of Shocking Blue's Send Me A Postcard. A song that they claimed "isn't one of ours," yet comfortable adapted to their sound. Giving the crowd one last go 'round with the hard driving, fist pounding ferocity of Destroy Everything You Touch, Ladytron left the audience at the Ford in a flurry of chaos, confusion and absolute musical rapture.