After having travelled for over an hour to get to Kingston, standing in line to collect the tickets at the local record store, smuggling Ilse through the 'strictly 18+' control (they didn't even ask for my ID, do I look that old now? Should I start using anti-ageing crèmes?), handing over the just collected ticket so it can add to the already immense pile of shredded tickets, going through the metal detector (yes... that's Kingston), having my bag checked, queueing for the coat room and waiting to get served at the bar, we are barely in time for the support act: Pulled Apart by Horses (and would that equine reference in the band name be the reason why they've teamed up these two acts?). I'll be honest: PABH is absolutely not my thing, though I can certainly see why one would like it. They're energetic, a bit all over the place (quite literally, much to the security's annoyance) and even have a sense of humour. Kudos to the supply-drummer who had to learn the entire set in one day, which happened to coincide with his birthday.
During the interval the suspense is building, as is the already high level of alcohol in the audience's blood. Okay, so the first random guy who attempts to strike up a drunken conversation is Scottish, nothing out of the ordinary there, but as the 'strictly 18+' appears to be an open invitation for anyone under that age to try to get in - preferably by wearing low-cut leopard skin dresses (or as we would call them: t-shirts) - the majority of the assembled teenagers feel the need to prove their age by going on a binge drinking frenzy. Last time I felt this old at a gig was when I went to see Bombay Bicycle Club and ended up in what felt like a school outing for eleven year olds. So when Foals finally enter the stage, this little fact goes unnoticed by at least half of the audience. But apparently Foals were prepared for this reaction, as they start with a not very noticeable track of their forthcoming album. After having gathered everyone's attention, they don't risk to lose it again and opt for 'Cassius' next, causing me to opt out as one of the drunken guys in front of me decides to land his entire weight on my left foot. And if that doesn't sound egregious enough for you: he did it while grinning at me. Whilst in serious excruciating pain, I manage to literally drag myself to the side which is a bit better, except for the part that in Kingston venues tend to have barriers preventing people from leaving the now full-on moshpit that's going on in front of the stage.
But back to Foals. As my ears are still fully functioning, I can still take in some parts of this evening (dancing or even lifting my left foot of the immensely sticky floor are out of the question). After 'Cassius', Foals continue on their victory path with 'Balloons'. It might be the distraction caused by the possibility of broken bones, but Foals appear to be less energetic and even more closed off from what's going on in front of the stage than the other two times I've seen them. Luckily for them, the audience is very willing to give them a few moments of their attention (once they've managed to locate the stage that is), especially for the new songs. Surprisingly, 'This Orient' works really well live. Compared to 'Spanish Sahara' it may have sounded a bit lost, but apparently it needs a live setting to reach it's full potential. The opposite is true for 'Spanish Sahara': it's absolutely bleak. The entire song builds up to that moment about four minutes in, and when it's finally there all momentum is instantaneously lost and we are forced to see it come to an uncomfortable end much like Gorillaz' deflating superfast jellyfish.
The same goes for all other new songs that are appearing on the track list tonight: they are a total disappointment, though I might be just a bit biased by the excruciating pain I was in. A song by the name of 'Bluebird', which is as tame as the name suggests, doesn't even spark a movement in the most intoxicated youngsters. Foals have certainly broadened their horizon on Total Life Forever, maybe they really wanted to take in everything. But it's just too much. One of the new songs appears to copied from The Cure, something you might expect from Yeasayer as they did it overtly on their last album, but combined with the math rock of Foals it just doesn't work. And it's not just their new work: their rendition of 'Red Socks Pugie' is a lot more general pop and less brooding than it used to be.
When they leave the stage I'm not even hoping for them to do an encore, even though they've left out 'Two Steps Twice', by far my favourite track (excruciating pain remember?). But of course they've got something more up their sleeve, starting with 'The French Open'. And yes, the song really does waste away a bit, like much of the set. But I can't really complain about that song, as it's about to get even worse with their last new song, which is probably called 'Babylon' (Yannis is not the most articulate person). During the intro, I am absolutely convinced I misheard the title as they are obviously covering the XX. It's not until Yannis starts to sing that it becomes clear that this is not the case: they've just 'borrowed' the guitar line. Halfway through, they progress from covering the XX to Three Trapped Tigers. I am very curious at to how this song will be credited on the album.
The obvious set closer is of course the aforementioned 'Two Steps Twice', and finally Foals seem to remember that they are a band and that there are actual persons standing but a few feet away trying to connect with the music they're trying to communicate.Well, Yannis at least. He mounts the largest monitor present on stage, grabs hold of some railings on the ceiling and quite literally throws himself onto the audience. I have to say that this moment was the highlight of the evening, as it got most people moving. Well, at least there are still those albums from The National and LCD Soundsystem to look forward to. Foals can go back to lingering in the back of my head.
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