Live Review: Everything Everything, Urban Cone

With the decidedly bland name Urban Cone, this band is anything but. The five-piece electro-pop from Sweden are fun. Bouncing around the stage with youthful exuberance, they look like they're having a great time on their first venture to Australia en route to Splendour In The Grass. Their guitar sound has a Two Door Cinema Club feel but some of the synth chorus builds are epic, particularly in Rocketman. Triple j hit, Sadness Disease, popped well as the finale while the singer scrambled clumsily around the stage knocking over a microphone and generally having fun. Worth checking out if you're up for dance.

Usually a band's third album would be a chance to branch out and try new styles. That's not necessary with Everything Everything. As their band name would suggest, these Mancunians play everything. From the darker, atonal Fortune 500 to the syncopated pop of MY KZ, UR BF, this four-piece take you on a journey that sometimes sounds like a bi-polar Muse if they started playing disco tracks.

Singer Jonathan Higgs' voice transitions back and forth from a delicate falsetto at will, which tonight may have been suffering from the long-haul flight, but still manages to sound amazingly unique. The band ably support in backing vocals and excitable dancing from keyboardist, Peter Sené.

The Metro danced, crooned and cheered for an eclectic band that offers something for everyone. The new single, Spring / Sun / Winter / Dread, proved a surprise highlight and big singles, Distant Past and finale, Cough Cough, gave the crowd what they wanted. The range of the set was a triumph and a curse at times, as some tracks fell a bit flat, but when a band offers up everything, you get what you pay for!