Memory is a fascinating psychological phenomenon that humans engage with consistently throughout their lives. What’s interesting is the concept of false memory – where individuals recall memories that have been distorted by misleading information or suggestive questioning. Why this is relevant to my experience seeing Bloc Party live for the first time since 2008 is how closely linked false memory is with nostalgia.
It’s a rainy Thursday night in Sydney, and after much back-and-forth with myself about attending, I pick up a ticket and make my way into the iconic Hordern Pavilion (for the 32nd time, my concert stats tell me!). I’m excited – it’s been 17 years between sets for me and Bloc Party, and bringing with them on their Australian tour are indie stalwarts Young The Giant – one of those bands that have always been around yet have never really captured my attention. I figure, at worst, I’ll get a glimpse into Young The Giant‘s set and find out what they’re all about.
Young The Giant kick off proceedings at 8pm sharp – and straight away the maturity of their sound smacks me in the face. They aren’t a support band. They’re polished, tight and energetic. It’s such a shame that they don’t have a larger following here in Australia – and this is immediately evident. The crowd is respectfully clapping/cheering when required – however are noticeably quiet throughout the majority of their set, even when the band cranks out one of their bigger hits Mind Over Matter. The crowd isn’t quiet because the band aren’t hitting the mark – I have to assume that most are in the same position as me. Heard the name, heard a few tracks but haven’t really discovered them for the quality band they are. In fairness, it’s been 14 years since the band came to Australia, and given their sound isn’t quite fit for radio, their exposure must be minimal here, and I can only assume that drove the decision to take up a support slot with a band who has a larger following.
What’s reassuring for me, as the band chugs through other highlights from their repertoire such as Cough Syrup, Superposition and new song Different Kind of Love, is that there would hardly be a person in the building who didn’t go home and throw on an album from their discography. The band did a great job, working with what they had, cranking out a great set and leaving the crowd curious for more. As they finish up with My Body, I have no doubt we’ll be seeing Young The Giant back again on their own headline tour. Deservedly so.
I remember Bloc Party for being high energy and a lot of fun when they were at their height in the early 2000s. There’s absolutely no doubt that Silent Alarm and Weekend In The City are two fantastic albums on record, and their current Australian tour is celebrating the former’s 20 years around the sun. It’s one of the top records of the 2000s in my opinion, and definitely one of the best of the indie genre. The band wastes no time taking us back there as they stroll on stage – launching into So Here We Are and She’s Hearing Voices before hitting Hunting For Witches. It’s an interesting 3-prong assault to begin with – not necessarily the high energy I remember, but delivered well.
Unfortunately, it feels like the crowd isn’t responding – and I get the sense lead singer Kele Okereke can tell. He’s doing his best to amp up the crowd with various jokes, commands and gestures – yet there doesn’t seem to be a lot of movement. To make matters work, certified stinker Mercury follows and does nothing to help the situation. Perhaps Mercury is kept in the set as it gives Kele an opportunity to showcase his vocal effect processing and sampling – which is cool, and interesting for sure. Not enough to change opinion of the track.
A few songs later though, something changes. After a quick solo snippet of Spin Spin Sugar by the Sneaker Pimps, the band unleashes what I consider one of their top tracks in Song For Clay (Disappear Here), which goes over well – but most importantly includes a perfect interpolation into Banquet, and this is where the change in the crowd becomes palpable. There’s movement everywhere, arms flailing, and more than a few shorter punters taking advantage of their friend’s shoulder height as the faithful sing a long with their beloved track. It’s a dream of a live experience and the crowd takes full advantage. This is the Bloc Party I remember from years gone by, and it seems I’m not the only one.
After a quick dip into some tracks from their more recent offerings, the band is back into nostalgia mode with the main set closing trio of Positive Tension, The Prayer and Like Eating Glass. Whilst some of the newer material doesn’t get the crowd moving, it’s received well – but Positive Tension brings the crowd back to life and it doesn’t let up until the band walk off stage.
As the mandatory band toilet break is in progress, it’s here that I reflect on the memories I had of Bloc Party from growing up, and the interplay with nostalgia I was expecting. Did I remember them incorrectly? Whilst their big tracks have no trouble getting the crowd moving, most of the other tracks are enjoyed by a crowd standing completely still. Interestingly, I think the band might acknowledge this. A lot of their better material (namely Song for Clay (Disappear Here), Hunting for Witches and Like Eating Glass ) are played at a faster speed – and I can only assume this is to try to bring up the energy of their set. Sometimes it works, but I catch myself wondering if they’re actually just powering through them as a tick in the box. In any case, it’s an actual delight to watch Russell Lissack in action, doing his best Johnny Greenwood and carrying the musical genius of the band throughout the night. He’s as sharp, effective and ferocious as ever – for me, one of the most underrated guitarists around.
The band remerges and kicks off Signs from 2009’s Intimacy – one of my favourite Bloc Party tracks on record. It’s such a shame that this is the low point of the night. The song just doesn’t translate well live – the gorgeous layering on the album version is lost, and whilst the band do their best, it feels really awkward and unnecessary. Following this up with a deep cut b-side in Two More Years is a nice surprise and appreciated by the punters, and does well to win the crowd back again before delivering another live favourite in Helicopter. Re-enter crowd movement, arms flailing, loud voices and shoulder-vantage shorties as everyone screams along with Kele. Ratchet follows – and in all honesty, I thought this song was trash on record and cringed when it started. However, it made a lot of sense live – and changed my opinion about it completely. It’s fun and exciting and does just as much as Banquet and Helicopter to get the crowd going. Fair play.
Whilst my memory of Bloc Party‘s live sets and the nostalgia I was hoping for weren’t fulfilled, and it’s unlikely I’ll see them again in future – ultimately, tonight is enjoyable, and I always have to remind myself that my love of live music and my constant analysis of it can often clash and take me away from experiencing and enjoying the moment. This Modern Love closes the night, and is truly one of the best indie songs created. The crowd reaction reaffirms that I’m not alone in this thought. Perfectly executed and a great way to wrap up proceedings of a mixed night.
3.5/5.0
Bloc Party, Hordern Pavilion, Sydney, Thursday July 31st 2025.
- So Here We Are
- She’s Hearing Voices
- Hunting For Witches
- Mercury
- Price of Gasoline
- Blue Light
- Song for Clay (Disappear Here)
- Banquet
- Traps
- Different Drugs
- The Love Within
- Blue
- Positive Tension
- The Prayer
- Like Eating Glass
- Signs
- Two More Years
- Helicopter
- Ratchet
- This Modern Love
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