Metronomy mix the silly and the serious: playful falsetto vocals and a song about a girl named Radio Ladio mingle with foreboding synths and austere beats borrowed straight from The Cure. Opening with “Holiday,” the London-based three-piece started off their set at Seattle's Chop Suey playing with an intensity that was more inline with their serious side. However, the lights soon dimmed and the chest-mounted tap lights began switching on and off with the music. Suddenly, Metronomy started resembling Devo more than The Cure.
Singer/guitarist Joseph Mount sounded apprehensive when he asked the audience, “This is our first time in Seattle, can we make Sunday a Funday?” but the synchronized saluting, magic fingers, and revenge-of-the-nerds dancing (especially well-executed by bassist Gabriel Stebbing) certainly got the crowd going. Although the turnout for the Sunday-night gig was tiny, I don’t think I’ve ever seen a show where such a high percentage of the audience was dancing. Aside from a few onlookers staked out at the bar, everyone was gathered close to the stage and dancing wildly or at least shuffling rhythmically.
With the exception of a blistering melodica solo and some extra keyboard lines provided by Oscar Cash, none of the songs were changed from their studio incarnations. But I didn’t mind, and no one else seemed to either. Any band that can combine the hilarious and the heartfelt as well as Metronomy gets my recommendation.
