Jeremy's Indie Music: Metric, Ritz Manchester, 10th October 2015 6/10

I was initially dismayed when both reviews I found of Metric's UK tour spent more time detailing Emily Haines' outfits than on the music. Yet, after seeing this show, it's clear there was a deliberate effort to explore aesthetics, and her outfit changes were as fundamental as lighting design. The band entered in darkness with animal masks and torches; later Emily wore a peacock tail with lanterns, and for Cascades her bandmates wore LED sunglasses. Some might interpret this as as an attempt to deflect attention from a less than universally acclaimed recent album release. Yet, these efforts extended beyond gimmickry to highly accomplished stagecraft: as a live, theatrical experience, it couldn't be faulted. Emily remarked near the end of the set: 'I hope this helps you with whatever you're dealing with in life'.

Between 2012's Synthetica and the newly released Pagans in Vegas, Emily took time out in Spain and Nicaragua to confront unspecified personal issues. Yet, she spurns Torres' confessional song writing in favour of slick pop escapism, which manifests itself most clearly in upbeat choruses. Some have found their sixth album less exuberant than their earlier work, but this show left any clouds behind to emphasise the upbeat, extrovert aspects. I found the discontinuity with the more profound work of Low earlier in the week difficult to adjust to, and the strong 80's Depeche Mode influences fail to resonate with me. Whilst I haven't reviewed Metric previously, I enjoyed their Synthetica tour at The Troubadour in April 2013 musically more than this one. Whilst that album had greater electronic influences than the breakthrough Fantasies of 2009, in LA indie rock guitar influences were more prominent than the now all-pervasive synths.

Emily's soprano voice was forward in the mix, to match the glossy production. She was constantly moving around the stage, dancing, and engaging the audience charismatically. For me, Metric's extensive experience manifests itself more in the ability to evoke a party atmosphere on stage than in their development in the studio. I found the first encore Empty, from 2005's Live It Out, to have greater musical interest than the formulaic, mechanical recent album; whilst Gold Gun Girls from Fantasies was another highlight. Breathing Underwater made for a moving close, the band leading a singalong from the edge of the stage; of the new songs, The Shade was best received. However, Pagans is the first half of a two part project: the sequel will perhaps receive greater input from Emily than Jimmy Shaw, featuring exclusively analogue instrumentation. I may have found this show less anodyne musically had the tour taken place after both halves of the project were ready.

It seems churlish to criticise such frenetic energy and richly creative visual invention. The atmosphere in the hall as the crowd partied to Celebrate was one of sheer joy, and surely provided therapy to those carrying burdens. Yet, for me, it wasn't an experience to provoke deep questions or emotion: ultimately it proved superficial. If you enjoy Pagans in Vegas, you'll love this tour, as live they cast aside concerns about what one reviewer called a 'shockingly forgettable release'. I may be of Emily's generation, but my musical influences are atypical, and I'm making no value judgement in saying Metric isn't currently quite to my taste. Neither is a much acclaimed band that Metric surely influenced and may have helped to make possible: Chvrches. Don't allow me to discourage you from exploring either of these notable synth pop bands.