The Temper Trap - Glasgow 02 Academy - May 13th 2010 (LIVE)
Monday, 17 May 2010
Written by Ross Gilchrist & Louise Henderson
Ever since 'Sweet Disposition' has been on every advert and every montage of relationship turmoil to grace our televisions, The Temper Trap have become the music supervisor's band of choice. Seemingly, there are also 2000 music fans that would be inclined to agree. Australia's chosen boys are on the verge of profound success providing they can keep their patented epic soundscapes rolling out of the studio and into this summer's festival scene.
The venue change from the O2 ABC to the O2 Academy is both a blessing and a curse for this -unofficially- 10 legged pathos machine. Blessed in that more 20 somethings will be able to experience this act live and cursed that the ABC has one the worst acoustic problems of any Glaswegian venue.
Starting with their riotous intro instrumental featuring a crushing 5/4 time riff and rolling toms provided by drummer Tony Dundas, the band more than effectively warm the audience as a whole. Yet when we trip into 'Rest', Dougie Mandagi's vocals pierce my ears like a rave version of 'Wuthering Heights'. Not only is he far too predominant in the mix, the treble boost on his mic is shrill to the point of ear bleeding agony. Yet, very few in the crowd seem to mind or notice. With each passing number the band are lauded and applauded by the majority of those in attendance. 'Fools', 'Down River' and 'Soldier On', are quintessential 'Trap, however it is 'Sweet Disposition' that obviously garners much of the crowd's love. Though, those around me complain that certain frequencies may be removed from their range of hearing permanently and it's heart-wrenching, chest-tightening, Edge inspired, echo guitar is sadly marred by the mix.
You could argue that at this juncture the band 'peak' too early. Having the song that generates the most room-wide emotion this early in this disappointingly short set so far from the show's climax. The Temper Trap, however, are more ambitious than box tickers. 'Resurrection' features some of the more soulful and original facets of their sound, psychedelic guitars, transient synths, and a swelling dynamic, all crowned by a Motown time traveller on vocals, yet reactions are not as explosive as before.
After 'Drum Song', which feartures Mandagi beating the holy hell from an adjacent floor tom, supplemented by one of the dirtiest bass lines known to decent civilisation, we are drowned in feedback until the band resurface for their encore. Leaving the ears of the O2 with a few missing frequencies, 'Rabbit Hole''s melancholy meanderings seem to pale in the aftermath of the preceding material but the band pull back with the drum and bass-lined closer 'Science Of Fear'. A clear affirmation that in the looming festival season many of the fans here will not assume that the issues of sound and of the paltry hour long set, will not carry any dulled perceptions of this act to the stages they inhabit.
Photos by Louise Henderson
Words by Ross Gilchrist
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