Leftfield @ o2 Institute, 19th May, 2017
It is the 22nd anniversary of Leftfield’s seminal album Leftism and to celebrate one half of the duo, Neil Barnes, is performing the album live in its entirety with assistance from Leftfield studio engineer, Adam Wren.
From the ticket sales, this has been a popular decision and at the Institute tonight, you are lucky to find space downstairs as the audience grows in number and anticipation.
The age of the majority of the crowd suggests how important this album was back in 1995 and as the album cover is displayed on the screen whilst bass line pounds throughout the venue, the eagerness becomes more evident. The lights go out and the band enter, launching into the vibrant Release The Pressure, as the beat kicks in everyone starts moving. Earl Sixteen’s unmistakeable vocals and vivacious on stage demeanour assist the euphoria that is swiftly spreading up onto the balcony.
This live performance is clearly meant to be a sensory onslaught with the enticing visual display, drummer and thudding bassline that continues with Afro Left. Djum Djum’s indescribable vocal line is enhanced by his use of a theremin which he uses to create eclectic synth sounds whilst looking like he is conjuring a spell. Melt’s ambiance reduces the movement but not the atmosphere, the visuals are encapsulating and allow you to drift away momentarily before Song Of Life begins to build.
Barnes uses what seems to be a toy mouth organ to produce additional sounds as the tempo and volume increase, feeding off the crowd response which sees Barnes applaud the audience with a massive grin on his face. Original is one of my favourite tracks from Leftism, probably due to my teenage obsession with Toni Halliday, and it doesn’t fail to deliver in the live environment unfortunately there is a slight physical awkwardness on stage by the female vocalist. The connection between Barnes and Wren is apparent with looks and gestures but both fully engrossed in the performance and the impact that they are having on the onlookers as the rhythm of Black Flute powers through.
It is the end of the set that is the most powerful, starting with Open Up, regrettably without John Lydon providing live vocals. Barnes adds to the track by playing guitar and then switching to the bongos for additional weight. It has been a while since I have listened to this track and its brilliance came flooding back. At the time, the song transcended musical genres certainly being a big hit in the alternative rock scene due to Lydon’s aggressive lyrical delivery being classed as “electropunk” and it still appeals to my “alt-sensibilities”.
Tonight, Open Up has most people with their hands in the air dancing in the limited space that they have before the tempo changes. The entrance of the tremendously talented Lemn Sissay is unexpected and welcomed as he performs 21st Century Poem with utter conviction through his voice and bodily execution that you can’t help but be moved; such an emotional ending to a magnificent nostalgic trip for many. Barnes humbly thanks the audience for making the event so successful, yet it is his visionary album that has enticed everyone to embrace a point in time when his music struck a chord.
Reviewer: Toni Woodward
Photographer: John Dent