Coming all the way from Stockholm, Sweden, openers Urban Cone brought a delightful set that came by surprise. With influences coming from both Two Door Cinema Club and Satellite Stories, the band brought out an infectious set list that was all-too-short-lived.
People around the room were tapping their feet to the rhythm of the tunes, connecting with the band’s music so effortlessly. Some songs that were offered in their setlist had interesting build-ups, keeping things interesting with their indie pop and electronic sound. The music that was playing in-between sets consisted of repeats on Dawes’ All of Your Favorite Bands, maintaining the relaxed state of the room. By then, the Metro was already a full house of attendees, waiting for the main act to arrive.
As soon as Everything Everything hit the stage, there were shrieks of excitement coming from punters. I’ve always struggled to pinpoint the sound the English rock band have, but their creativity in their music stands out from the rest of the pack. Vocalist, Jonathan Higgs showcased amazing skill in his vocals as the band opened up with “To The Blade”; a fantastic choice to open with. The people around the room lost themselves completely, opening a parallel universe that was both cinematic and immersive. “Kemosabe” came through as the second song of the night with its slick beat that had the audience chiming. The glitchy sound was both experimental and diverse, proving why the English rockers are so critically acclaimed for their music.
Higgs admitted to the crowd that he wasn’t feeling too well that night but the Sydney crowd managed to cheer him up by a mile. The synergy of all band members was incredible as essentially they were making love with their instruments. Track after track, fans were heavily invested into the band’s symphonic setlist as people were singing lyrics passionately in their shameless, out-of-tune ways.
Everything Everything were indeed captivating to watch and although crowd interaction was set to a minimum, there was chemistry that illuminated from the stage. With its cheeky lyrics, “No Reptiles” had people singing to their heart’s content, especially for those hitting their drunken state of mind. Riggs showcased his vocal talent once again as he sang, “It’s alright to feel like a fat child in a pushchair”, singing lyrics at the speed of light without even catching a breath.
Being part of the huge lineup offered at Splendour in the Grass, Everything Everything are a worthy offering at the festival. As strange and unpredictable as their sound is, Thursday night justified that their music is simply out of this world.
Everything Everything play tonight at the Corner Hotel in Melbourne. Photos by Evelyn Tija. Check out the full photo gallery from the night HERE.