NME Awards Tour 2013 - O2 Academy, Glasgow, Mon 11 Feb
- Paul Little
- 19 February 2013
This article is from 2013.
Django Django, Miles Kane, Palma Voilets and Peace head up the annual UK tour
People of Glasgow,’ whoops Vincent Neff, Django Django’s representative on earth today, ‘are you gonna come up with us?’ And we do, making a self-fulfilling prophecy of Neff's declaration early in the band's NME Awards Tour-headlining set that ‘Monday night is the new Saturday night’. There are four pretty good bands here, as there are at each of these jaunts celebrating the music mag’s most-tipped names for the coming year, but Django Django are the only ones to inspire full-on euphoria rather than the gentle warmth of approval.
Leaving aside the depressingly familiar sight of one bunch of white boys after another bouncing on and off stage, all those involved could count this night a success, with the less interesting of those acts appearing (anyone without a ‘Django’ in their name) benefitting from the larger stage and the sense they are grabbing a potentially career-making opportunity with both hands. Birmingham’s Peace satisfy with a sludgy but somehow upbeat variant on cider-sticky 1980s student union indie rock melded with the ubiquitous careening guitar of Vampire Weekend, while the sullen but interesting Palma Violets are clearly this year’s most deserving mob of Camdenite pretty boys.
God love Miles Kane - at age 26 and with careers in The Rascals and The Last Shadow Puppets behind him, the industry veteran of this bill - who takes a sound which was even outdated by the time the NME figured out putting Oasis on the cover sold more copies amping it up to new levels of vitality and freshness. Wearing a feather cut, a leather jacket and his feet planted apart the better to anchor against all the overexcited guitar solos, his set is uniformly loud and laced with compulsive pop choruses in tracks like ‘Rearrange’ and ‘Inhaler’. And he looks really happy to be here, emphasising ‘I don't wanna leave this fuckin’ stage but we've gotta at the end of "Come Closer".'
So to the Djangos, who take all the good feeling in the room and magnify it through a most non-indie cataclysm of veiled Morricone soundtrack references, classic synthesiser beats and Neff’s oddly effective channelling of both Alex Kapranos and Flavour Flav (listen for his yelped hype commands, you’ll see what we mean). They suit the larger room and soundsystem perfectly, the experience a classicist’s fusion of obscure rock and primal dance to remind of the first time this writer saw and heard LCD Soundsystem play live.