What makes a good support band? For me, it’s the lasting impact they make on crowd, so much so that they’re part of the post-gig conversation.
Leeds-based quartet L’objectif had the honour of opening up for Mancunian indie-pop heavyweights Everything Everything on their UK headline tour, which hit The Roundhouse on Wednesday evening. The venue’s imposing circular layout and jet black pillars created a grand yet daunting surrounding for any opening band, tasked with sounding out the night’s first notes and singing its first lyrics, in the hope of the gaggle of fans who beckoned the headliner’s plea to “get down early” returning some of their energy.
Well, L’objectif duly met this yard post. Arriving on stage 30 minutes after doors opened, they launched into their latest single, ‘Same Thing’.
Immediately I was enchanted by lead singer Saul Kane’s authoritative stage presence, craning over the microphone stand and decked out in all black, like Yorkshire’s answer to Grian Chatten – as he sings, he gestures to the crowd partly as if an orator, partly as a conductor, urging them to get involved and delve into the sardonic story of a man messing up every relationship through the “same thing”. The attraction towards the band grows thanks to the loud, crunchy guitars – impressive currently with only two on stage at this point, with an explosive guitar solo from lead guitarist Dan Richardson eliciting the first rapture of applause of the night. ,
There was enough musical variety in this short-yet-sweet support slot of 30 minutes to delight all. There’s a brilliant rendition of the jangly guitar anthem, ‘Close to You’, which is reliant on the “GOAT” drummer (as described by Kane) Louis Bullock to give direction and drive (which, of course, he did).
Their second track of the evening, meanwhile the addictive ‘Have it Your Way’, ditches the dour post-punk attitude of ‘Same Thing’ for a lighter, groovier cloak.
Here, Kane – now with guitar in hand – delights in jazzy crooning whilst delighting in the fellow shredding of Richardson as the funky chorus beckons. In fact, in one of L’objectif’s unreleased tracks which they showcased to the crowd, Kane’s croons, decked out with delicate vibrato, brought some applause for their deliciousness.
By this time, though, the crowd was firmly on their side, after bassist Ezra Glennon had to disappear and reappear a fair few times due to some technical difficulties – the professionalism with which they rode this out, though, was impressive, and it seemed like they’d rehearsed what to do in this instance (even if they, actually, haven’t). Having returned to stage, Glennon attempted a few Mike Dirnt-esque stage-jumps, showing his evident delight that this minor hiccup was resolved quickly
The centre of attention, though, was Kane. His introductions of the tracks were not always eloquent but consistenly amusing and endearing all the same (for example, introducing the seductive ‘Burn Me Out’: “It’s all about being burnt out, I suppose as the title suggests… well, yeah, enjoy!”); and the dab of self-deprecation added to the support-bandism “ARE YOU EXCITED FOR HEADLINER XYZ” – “well tough you’ve got us now” – added to the showman attribute. If L’Objectif find themselves headlining venues such as The Roundhouse in the future (which I can see in the near future), his on-stage presence will be well suited to such an occasion.
Prior to their final song, Kane commented that “sadly, the dream has to end here”– another quick quip added to the other supporting-bandism, “it’s a dream to play here”. There were still a few minutes left, though, as the post-punk anthem ‘Drive in Mind’ was given a enigmatic performance by the quartet.
There’s such great levels to the band, from crunching, grungy verses, light-touch vocal solos in the lead up to the chorus, to the chorus itself, full thumping pedal-bass drums and intense distortion. A little silliness breaks out, with bassist Glennon (still seemingly high on the fact he was able to continue to play) running to the audience seemingly in an attempt to crowdsurf… though by the time he enters, the song ends. This doesn’t take away from the powerhouse performance by L’objectif; in fact, it matches the same self-deprecative, showboating demeanour displayed throughout a slightly chaotic 30 minutes.
So yes, L’Objectif did make a lasting impact on the crowd; as I left the gig after a barnstorming display of prowess from Everything Everything on the way to Chalk Farm Station, amongst the masses singing along to the chorus of ‘No Reptiles’, I came across a group saying “well, I’m glad that I came down early, the opening band…L’objectif was it? They were great”. I certainly felt this way.
Words by Matthew Prudham
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