Admittedly, standing in the crowd, I know which of the two groups I am classed in. Having only explored Slowdive's discography a few years ago, alongside the release of fifth album ‘everything is alive’ last year, I would be lying if I said I was born and bred in a shoegaze soundscape. However, since the release of ‘everything is alive’, I took a deep dive into Slowdive's 90s reign (and fall), and fell hard. Excitedly squeezed in the melting pot of old and new adoring fans, holding our £6.50 pints of Stella (the cheapest we could find, mind you), we watched as the support act, London’s ‘Whitelands’, emerge.
Whitelands proved to be a perfect warm-up for the show. Excitement was in the air for the release of their sophomore album ‘Night-bound Eyes Are Blind To The Day’ set to debut the day after the show, something I discovered after hastily searching them up in the crowd, they were set to impress. The venue buzzed with anticipation, a majority (including me) unfamiliar with the band, were ready to be enthralled. Having released their first album in 2018, and citing Slowdive as an inspiration in a 2021 interview with Underground, Whitelands are a perfect picture of the shoegaze renaissance. Their performance of recent single ‘Setting Sun’ was a standout, with attractive guitar work and basslines, they left the stage. Full of potential, I hope to see more from this London-based group.
After a short wait (punctuated with a much-needed bathroom break), Slowdive graced the stage and immediately seized the audience’s attention. With the crowd beaming, Slowdive opened with ‘Shanty’, the same opener of recent album ‘everything is alive’. ‘Shanty’ is a pulsating, synthetic start, with steady bass grooves. The moment felt like a powerful testament to the band’s turbulent past. With past controversies where comments were made about Slowdive being more hated than Hitler himself, as well as performances where the only audience member was a cleaner mopping the floor in a Coventry gig in 1995, these only underscore the significance of the moment. The overwhelming excitement and adoration filling the venue were not just a celebration of Slowdive's return but a testament to the enduring spirit and resilience of the band and the shoegaze genre.
“It’s lovely to be here in Newcastle!” bass player Nick Chaplin beamed. With a pleased roar from the crowd, and a “too fucking cold” from their fellow band member. The band followed with electric performances of ‘Star Roving’ to ‘Souvlaki Space Station’ retaining the dreamy tone while introducing a stronger, heavier sound, perfectly pacing the performance. This well-crafted setlist continued, with perfect ebbs and flows of serenity, guiding the audience with impressive visuals that nearby concert-goers awed at.
The thoughtfully arranged setlist continued to pull the performance together, into an otherworldly experience. Sometimes, a concert can drag, an act can give you a performance with the stage presence you'd expect from a year 9 music GCSE class, or it just doesn’t suck you in like it should. None of these can be said for Slowdive. With the twin vocals of Rachel Goswell and Neal Halstead, ‘chained to a cloud’ weaved ethereal electronic sounds and layered guitar work, something that has been a big influence in the new album thanks to songwriters Neil Halstead's experimentation in their hiatus. In contrast, hit single ‘Kisses’ (and my favourite from the new album) brought a refreshing upbeat tempo and pop-infused kick to the show. 'Kisses' was a distinct highlight, with elegant vocals and subtle synths, it’s not only radio-friendly but a magnetising addition for the show, and the only one I could convince my concert-going friend to dance to with me.
Another centerpiece for the show was ‘When the Sun Hits’, a track that shimmered with glimmering riffs and the flashes of iPhones to record from the younger generation. While Slowdive have rightly talked about their distaste for the TikTok influence of ten-second bitesize tracks, something Chaplin has said the label tried to push them to do, it is clear to see that TikTok has played a key role in reviving Shoegaze. TikTok, even if I hate to admit its successes, has played a pivotal role in creating spaces for bands like Slowdive and the upcoming Whitelands to showcase their art. While it can be frustrating at times, as seen in instances like Steve Lacy's attempt to engage the crowd beyond the familiar TikTok sound snippets, the platform has undeniably contributed to the resurgence and popularity of artists like Slowdive.
For the encore, Slowdive delivered ‘Sugar for the Pill’, perfectly mixing the meloncholy and euphoria the audience had bathed in all evening. Finally, Slowdive closed their set with a cover of Syd Barrett’s ‘Golden Hair’. With interesting visuals of Sid James and Syd Barrett behind the band, perhaps a nod to the Dexy’s “Wilson” Top of the Pops incident, we left the venue on a high.
Slowdive's performance puts it as an early contender for gig of the year for me, and really showed that Slowdive aren’t just a band, they are pioneers of an evolving genre, and really proved that everything, indeed, is alive.