Live Review: The Kooks, Glass Towers

Glass Towers frontman Benjamin Hannam pauses mid-set to explain that the band are filming and have to keep their jackets on for consistency. This means that it's becoming a little hot on stage, something that is obviously getting to him as he takes the opportunity to say “give us a break, yeah?”.

It's easy to see why the band might be a little frustrated. Tonight's crowd, a strange mix of teenyboppers and 20-somethings isn't exactly enthused by being forced to wait for The Kooks. Whether it's down to this frustration or the distraction of the heat and the camera, Glass Towers don't quite feel together as they struggle to breathe life into the music. Even the normally catchy Tonight and Jumanji fail to conjure an energetic atmosphere.

A lengthy intermission means plenty more time to enjoy the seats at the Palais Theatre, a privilege which is promptly bid farewell as The Kooks appear on stage. The next hour is strictly a standing affair, as the crowd bows to the seemingly endless narcissism of lead singer Luke Pritchard. Make no mistake, these guys have their performance pretty down pat, and they know it.

As the set begins it becomes apparent that The Kooks' live sound is one of unshakeable quality. Forget the typical distorted lyrics or unbalanced instrumental often associated with live performance, this is near-on perfect. The lighting, too, is of a high quality, although it's questionable whether it suits the mood fostered by The Kooks' sound. It's not discernible to the point of distraction however, it does add an element of confusion as to the show's direction.

In terms of content, we're given a reasonably balanced mix of old and new. Songs from Inside In Inside Out and Konk seem to dominate, however there's enough from Junk Of The Heart to make the masses momentarily disinterested and keep fans of the new sound (this reviewer) satisfied. How'd You Like That, Shine On and Seaside are all highlights, with the latter giving Pritchard an opportunity to take the spotlight and connect with the (his) people in a scene reminiscent of a Shakespearean drama. For all the hits and the quality of performance it's difficult to connect with this gig. The size and nature of the crowd, combined with the movement restrictions imposed by the venue layout seems to sap the soul from it. It's stuck in the middle, lacking the energy of something bigger and the intimacy of something smaller.

The rendition of Naive to conclude provides a perfect metaphor for the night in general: it's seamless yet entirely predictable.