The development of a band’s sound is always an intriguing one and is watched most earnestly by their fans. How many times have you found yourself in awe of a sound you thought you’d never hear, only for it to be slowly diminished by the subsequent albums? How many times have you said, “they’re starting to sound a bit commercial now”? However, we can’t expect a band to adhere to the same pitch throughout their career: one, it doesn’t exactly encourage creative stimulation; and two, fans like to see some kind of movement and transition.

So how has the sound of the operatic Wild Beasts grown and matured? Their post-punk revival debut, Limbo, Panto (2008) is hardly recognisable now. However, there were definitely signs of the direction Wild Beasts were heading. When the accredited Two Dancers (2009) was released, it was evident that the post-punk sound became more subdued while the ethereal sound of ‘Please, Sir’ grew more prevalent. Furthermore, bassist, Tom Fleming, claimed more vocal responsibility while Thorpe’s falsetto voice had been restrained.

And what does Smother (2011) sound like, I hear you say. At first, disturbingly erotic; especially when ‘Lion’s Share’ delivers the line: “I take you in the mouth/Like a lion takes its game.” Of course, first impressions are hardly ever correct, although the band and sound clearly have that sexually ethereal nature about them. In all honesty, I wasn’t sure what to make of the new album or how the band has matured. Until now…

As Concorde 2 filled its intimate room with buzzing Beast-spotters in feverish anticipation, what better way to gratify the patient crowd than the operatic vocals of “We Still Got The Taste Dancin’ On Our Tongues”. The biggest fear when going to any gig is whether or not a band’s expertly processed album sound will translate onto a live stage; Wild Beasts delivered their studio quality with ease. After dishing out successful tracks from Two Dancers, Hayden Thorpe then cues a playlist from Smother: “We’re gonna play something more up-to-date now.”

Everyone looked on with curiosity; ready to interpret the sound of the new album. Essentially, the third album moves even further away from the energetic debut; it is a journey into another world, an expedition into the thoughtfully alluring soundscapes the Beasts have claimed as their own. While the new tracks didn’t get the mildly frenzied response that the anthemic ‘Hooting And Howling’ provoked – although Wild Beasts never set out to get their fans thrashing about – there was certainly ample appreciation as fervent ears absorbed and fantasising heads swayed.

But this is one of the reasons the band attract such a variety of people; old and young. They’re not about prancing about showing off their on-stage antics. Their considered compositions are made for a live audience and thanks to Concorde’s close confines, Wild Beasts’ seemingly out-of-reach world was merely an arm’s stretch away. However, the trio of tunes encased in the encore stepped up the vibe.

Beginning with ‘Lion’s Share’, the bassline was immediately apparent as it pounded through the body – something that home speakers and headphones fail to register with any authority (it helps that Concorde 2 has a well-refined sound system). Then ‘All The King’s Men’ is triggered by the audience singing the intro; it was a slightly orgasmic experience to hear Thorpe backed by a vocalising Fleming on this track (and I don’t think it was just me). In addition, an extra flavour was added to the popular tune by the occasional echo effect on Thorpe’s vocals.

And finally, cue the epic and fittingly titled ‘End Come Too Soon’. Thorpe and Little open the tune with their guitars in an embrace – both physically and metaphorically – before they both drop to their knees in harmony. The mid-song effects-led break offers a welcome breather to reflect on a gig full of atmosphere, emotions and sexual innuendos before crescendoing into a poignant conclusion.

The final tune appears to be a signal of the direction Wild Beasts are heading and who would complain? It’s melodically vibrant whilst the rumbling bass drives at the heart. The problem is, if they sound any more ethereal, they might find themselves in a whole new galaxy, let alone a world of their own. The best thing about it though is that they invite their ardent listeners with them to step into this otherworldly sound.

WILD BEASTS
CONCORDE 2, SATURDAY 26TH NOVEMBER 2011
WORDS BY MATTHEW YAU