Franz Ferdinand is definitely used to playing bigger venues. They're the first band I've seen who lugged an 18-column row of TV-sized video screens and pillars of lights into the modestly-sized Electric Factory, which holds about 3,000 or less. But just like Franz Ferdinand has always had the singles mentality of a pop band, their live show is stadium-sized no matter how big the arena.
The four-song opening salvo of "Dark of the Matinee," "No You Girls," "The Fallen" and "Michael" felt like, and was received like, a hit-after-hit sequence. (And in the U.K. it would be--top ten, top twenty, top twenty and top forty.) Alex Kapranos has a great mix of natural charisma and what seems like years spent studying/absorbing the pop stars of the video era. He knows exactly when to let his guitar dangle behind his back and clutch the microphone, when a hand gesture amps up a lyric, and when to get a back-and-forth crowd sing-along going. The show even had the classic "introduce each member of the band during the last song" move, cleverly saved for "This Fire," in which each instrument comes in one by one.
The second most animated member, oddly enough, was confined to a chair. Rhythm guitarist Nick McCarthy came out on crutches, offering only "I busted my foot!" as an explanation, but managed to emanate energy from his area of the stage. The pacing of the show was spot on. "Walk Away" provided the first softer moment at a time when a break was needer, the signature hit "Take Me Out" is a second-half rejuvenator, and "40'" and "Outsiders" made for jammy, pleasing dual set closers. "40'" got a spacey, length-doubling treatment and "Outsiders" ended with a unique jam that had the entire group pounding away at the drum kit. (Having four guys with drum sticks also amps up the effectiveness of another classic concert movie, chucking the sticks into the crowd at the end.)
The encore played like a more concise set. "Jacqueline," with it's slow introduction and explosion, is a great opener, and they even threw a b-side into the mix. "Lucid Dreams" provided another moment for the band to stretch and even another drum jam (featuring the excellent opening act, the Born Ruffians,) and "This Fire" followed the wise convention of saving a powerhouse hit to close the show.
The aforementioned video screen was put to good use--everything from simply lights to truly ludicrous videos, including one which sported rotating nude marble statutes, running dogs, and a triangle which featuring the cycling faces of the band. Others were simple but effective lyrical tie-ins--photographs of a girl dancing for "Bite Hard," a pair of smoking lips for "No You Girls"--and use sparingly enough to have maximum impact.
Surprisingly for such a singles-act, those longer, jammier bits were highlights, although the numerous sing-along moments show the band's pop appeal. Although the band's indie favorites status has waned, and the long wait since their last album killed a lot of momentum, the songwriting and showmanship remain intact, and the "best of in the works" setlist shows that it's one hell of a greatest hits CD they're working on.
Dark of the Matinee
No You Girls
Turn It On
Do You Want To
Tell Her Tonight
Take Me Out
What She Came For
Shopping For Blood