Biffy Clyro are one of those bands. You know the ones. The ones that divide opinion. They're either greeted with unbridled devotion by a loyal fanbase or, at best, mild indifference by those that don't get it. To say they're a cult band is probably pushing it but they're certainly a band who've risen from relative obscurity to the very top of arena and festival bills. It's not difficult to see why they generate such opposing viewpoints. Too proggy for some. Not heavy enough for others. Simultaneously accessible, with well-written songs and personal lyrics, but also confusing with often less than standard song structures. Make no mistake though, they can definitely draw a crowd. As part of the UK and European tour for recent album Futique, they've included a Nottingham date, the first in quite some time. There's a definite sense of anticipation in the air, despite it being a Monday night in the depths of winter. The uneducated, who maybe haven't witnessed their potency as a live force, will soon be enlightened in the ways of the Biff.
They're not the only bad on the bill tonight though. Whilst we can't testify to the performance of The Armed, who are opening on this tour, the second support act are a different prospect entirely. Biffy have a habit of using relatively well-established bands as tour support, and it's no exception here. The strength of a support band is often measured by the sheer scale of the crowd. Whether out of curiosity or familiarity, SOFT PLAY have just about filled the place for their set of unadulterated modern punk vitriol. Completely failing to live up to their name, the Tunbridge Wells duo go hard from the off, rattling off spiky barbs of politically driven noise, alongside staccato drumming, rumbling guitar and characteristically shouty vocals. They're unashamedly and brilliantly woke, insisting on a female only moshpit for the 13 second barrage of Girl Fight, which they dutifully play twice. It's a raucous set with a reception to match and the pace barely lessens throughout, before a closing The Hunter clatters to an end and they're off, almost as soon as they arrived, or so it seems. As far as a warm-up for the main act goes, you could certainly ask for worse.
BIFFY CLYRO have been at this game for quite some time. Since they emerged in 1995, they've escaped the shadows of the underground and forced their way up to the highest echelons of the modern rock scene. Throughout, they've learned to adapt. From their early albums, which first introduced the janky rhythms and uneven time signatures that accompany their genuinely heartfelt lyrics, to the mainstream breakthrough of 2007's Puzzle, they've stuck to the formula, developed their style and built a fabulous reputation as an energetic and explosive live act. All of which brings us to the reason that we're here tonight. Recent album Futique is the Kilmarnock trio's tenth full-length. The title is a portmanteau of 'future' and 'antique' and designed to represent ideas across time. In general, it's a reassessment of the band's journey both to and from this point. Songs from the album will be scattered throughout the set, along with big hitters from across their discography, although the first three albums are not represented over the course of the night.
Things begin as only a Biffy set can, with a white curtain draped over the stage as the opening bars of A Little Love kick proceedings off. The band appear in silhouette, before the curtain rises to reveal a stage set up of stairs and platforms. No time is wasted. The first song, from the new album, is barely over before it's followed by Hunting Season, another from the new record. Simon Neil's vocals are on-point throughout the set, equal parts anxious and yearning, and at some points urgent and almost feral. It's a testament to the strength of the songwriting that he pulls off each part with suitable aplomb. You can hear the evolution of the band as the older songs begin to appear. The call to arms of Wolves of Winter still sounds suitably ferocious. So too A Hunger in Your Haunt, which hums with urgency and desperation. Biffy attract an ardent devotion from their fans. Every word is sung by everyone in the building, in some cases rather beautifully as Simon himself remarks during one of the few periods of audience interaction. It's quite something when a crowd is even prepared to sing riffs as well as vocals. Anthems such as Mountains and That Golden Rule sound suitably massive. However, one of the band's biggest strengths has always been their ability to bring intimate moments to life in a way that makes them feel bigger and more grandiose. Tear-jerking new ballad Goodbye is as powerful an ode to lost love as you'll ever hear. Space has couples in the crowd embracing, with more than a few tears being shed. Machines, played by Simon alone onstage, still stands up as being one of the best songs they've ever written. There's something approaching a deep cut when Different People (from 2013's double album Opposites) gets an airing. The new songs fit in perfectly amongst the more familiar material. There's a nice moment of poignancy when Simon dedicates Friendshipping to absent bass player James Johnston, who has taken some time away to deal with issues surrounding his mental health. May he get the help he needs and return soon.
Simon isn't alone in bringing these songs to life though. The rest of the band are fully immersed. Drummer Ben Johnston, James's twin brother, flits between thunderous rolls and subtle fills, all executed to perfection. He also issues a heartfelt thanks to the audience for the support and love sent towards himself and his sibling. Stand-in bass player Naomi McLeod is an excellent choice to cover for James and doesn't miss a note. The touring musicians, particularly the two violinists, carry out their respective roles impeccably. In and amongst it all, the stage production hangs everything together. Sparks fly, streamers go off and, throughout it all, a tightly coordinated light show bathes everything in shades of white, red and kaleidoscopic patterns. By the time the encore is in sight, everything is in wonderful, flawless flow. The stop-start intro to Living is a Problem...... is played in full before it explodes to life and threatens to take the building with it. Bubbles has the crowd in raptures. A cathartic, closing Many of Horror, now a certified set-ender, conjures one last massive singalong and an explosion of confetti from above, and banishes the memory of the literal horror of Matt Cardle's cover version. This, in essence, is what Biffy Clyro are about. Massive choruses, punchy riffs and deeply honest lyrics that run the whole gamut of human emotion. Seasoned fans are elated. First timers are converted. Love them or hate them, or not sure about them, there's very little denying that this is a band at the top of their game and very good at what they do. You don't get to 10 albums and get to headline festivals and arenas without some grasp of what you're doing. Biffy Clyro are what happens when the hard work pays off. Mon the Biff!
Biffy Clyro Setlist
A Little Love
Hunting Season
That Golden Rule
Who's Got a Match?
Shot One
Space
Wolves of Winter
Tiny Indoor Fireworks
Goodbye
Friendshipping
Biblical
A Thousand and One
Different People
A Hunger in Your Haunt
Black Chandelier
Instant History
Mountains
Two People in Love
Machines
The Captain
Living is a Problem Because Everything Dies
Bubbles
Many of Horror
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