Broken Bells, London Royal Festival Hall

Broken Bells

June 21, 2010

The closing night of Richard Thompson’s Meltdown Festival marks the European debut of Broken Bells, the studio project of super producer du jour Danger Mouse, and James Mercer of perennial indie favourites, The Shins.

The concert is very much of a curiosity in that it provides a rare opportunity to see a studio project as a living, breathing entity.

Whilst the attention of the band is focused on Mercer and Danger Mouse, for the Broken Bells live experience they are ably assisted by an additional five players. True to form out of being borne out of a studio project, the lineup of the band is unconventional, with most members frequently swapping instruments throughout the set.

At the start of the concert, Danger Mouse is present at the centre of the stage on keys, which alongside  with his huge afro, very much gives the impression of a nutty professor conducting the orchestra and  holding things together both literally and metaphorically. When Danger Mouse drops back later in the set behind drums you get the impression that in this context he is very much a wasted talent. It is unclear why such a talent would take a backseat role, unless it was to demonstrate patronage of an up and coming or lesser-known artist.

The set is pretty much made up from the band’s eponymous album in its entirety. However, prior to the interval, Mercer and Danger Mouse take centre stage to play ‘Insane Lullaby’, from the Dark Night Of The Soul album, written by Mark Linkous and Danger Mouse.  It is a poignant rendition but would have been more fitting as part of the encore.

As a live experience, the songs from Broken Bells do not veer too far away from the studio versions.  Other than the occasional extra backing vocals, beefed up by the full band, musically the band sound like the Shins with subtlety layered electronic  undertones. As they say, if it ain’t broke don’t fix it.

On the few occasions that the band do veer away from the originals for extended wig outs, the audience give a collective cheer. However, the interaction between the band and the audience is fragmented at best. As front man, Mercer barely acknowledges the audience other than offering a short anecdote about how he loves skateboarding,  and a brief thank you to Richard Thompson for asking them to play.

Unsurprisingly the biggest audience reaction of the night is saved for album opener and single,’The High Road’. During its rendition, the band display the logo on the cover of the album as part of the visuals. As a band, who fail to have an aesthetic identity , due to the nature of the project, this is the closest audience get to feeling at one with the two superstars and other assembled musicians on the stage.

Upon exiting the stage the band are given a standing ovation. However, one very much got the impression that this was for being privileged to attend such an event, rather than an acknowledgement of the musicianship of the band.

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