Live review: White Lies @ Manchester Apollo

Date: December 13th, 2011

Words: Michelle Lloyd

If you search for White Lies on the internet, almost every piece you read will include the word ‘dark’. Granted they are suitably ominous in their lyrics, and yes they’re always clad in a uniform of black, but a White Lies gig is anything but dark - both musically and metaphorically speaking. They toy the niche genres of foreboding, angst laden goth and big guitar pop-rock incredibly well and make, in my opinion, for one of the best live bands in the UK.

Frontman Harry McVeigh, bassist Charles Cave and drummer Jack Lawrence-Brown, accompanied by their two touring members, always give a highly accomplished, polished, and poised performance. Whether it be in a tent with thousands of merry festival revellers or in the more intimate surroundings of venues such as the Apollo, there’s always a definite sense of professionalism.

It’s hard to believe they only have two albums to their name, especially when every track in the set is forceful, imposing, euphoric and well received by the sell-out crowd. They kicked off with well-known track ‘Strangers’ and the title track of their debut number one album ‘To Lose My Life’, and it was evident that they have the knack of fully engaging an audience. This power lasted throughout the whole set and was aided by the hypnotic light sequences - each song taking on its own hue.

Harry’s robust voice was stern and distinctive throughout, giving much vigour to the intelligent and emblematic lyrics they are famed for. Each song tells some sort of a story and McVeigh makes the perfect storyteller, exuding charisma. Despite much of their lyrics including references to death, pain and heartbreak they’re delivered in such a fashion that they appear uplifting and joyous. Coupled with thundering drums, heavy bass and infectious guitar, they take on a whole new meaning. ‘Farewell to The Fairground’ is a prime example that provided a mid-set moshpit and perfectly timed clapping from the fervent crowd.

‘Is Love’ from their second album Ritual provided a poignant, more intimate moment, with echoes of “the only thing I’ve ever found, that’s greater that it always sounds, is love” swathing around the venue along with shrieking from the fans as Harry made a timely shift to the front of the stage for his guitar solo. ‘Come Down’ had a similar effect with limited guitar and added keys, providing the perfect accompaniment to the stark, honest poignant lyrics that no doubt brought back many peoples' memories of similar times of unrequited love and regret.

Just as soon as we’d composed ourselves again, it was time to be rocked to our very core once more with arguably their most popular track and definitely one of their strongest - 'Death'.

This track saw everyone up off their seats, hands in the air, belting out the chorus (and if anything like us, having a little go at air guitar). Returning for an encore with ’Unfinished Business and 'The Power and The Glory', they closed with the anthemic ’Bigger Than Us’, which represents White Lies at their best - tenacious, heavy pop-rock that somehow gets under your skin.

White Lies have been compared to the likes of Joy Division, Editors, The Bravery and Interpol in the past and the similarities are obvious to see. However their distinct sound is unlike any other. It’s rare that a band can pull off morose, enigmatic and exhilarating at the same time. In a somewhat saturated market where everyone is vying for that different sound, it’s admirable to see a good, sturdy, live guitar band with no gimmicks. 

And with a sell-out date at Wembley included on the tour, I’m clearly not in the minority with this opinion.

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