The War On Drugs – Liverpool University Mountford Hall: Live Review

By Mike Ainscoe on 9th July 2024 • ( Leave a comment )

The War On Drugs, Somebody’s Child – Liverpool University Mountford Hall – Monday 8th July 2024

The War On Drugs take a two night stop off in arguably the UK’s most famous music related locale whilst on the road to the Royal Albert Hall; take note of the sign at the end of the M62 as you enter the the outskirts of ‘Liverpool – Music City’.

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April 2022, June 2024 and now July 2024 have seen us encountering the rather marvellous War On Drugs although tonight couldn’t be more different than the last encounter – a sunny open air daylight show in Halifax gives way to something that’s a total contrast.

It’s all very quiet in the shadow of the Metropolitan Cathedral. Everyone is standing in a polite line ready to fill a jam packed indoor venue; just under two and a half thousand behind the barrier, a low stage and doused in hazy saturated light that more often than not obscures rather than enhances, occasionally punctuated by spears of white spots. And it’s hot. Seasonably so, such that you have to (a) admire bassist David Hartley for sticking with his trademark woolly hat and (b) sympathise with drummer Charlie Hall having to belt the motorik beats from his kit.

Adam Granduciel even admits he’s not been feeling too good over the last few days, but what’s better (or worse?) for a touch of the doldrums than a hot sweaty gig? Possibly in preparation for London shows (live album time maybe?) he also gets us excited straight off the blocks by announcing how they’re going to be playing some stuff they don’t do too often. Just like he took the pen to the setlist back at the Piece Hall in ’23 and threw in an explosive Come To The City. That’s absent tonight, but his promise is confirmed immediately by with The Deeper Understanding pairing of Up All Night and Nothing To Find (plus Pain for the hat-trick) setting the tone. The former is set up with a classy and tight groove, allowing space for the first of many deeply powerful guitar solo parts whilst the latter ups the tempo and the crowd starts to gently bounce.

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Deeper cut Disappearing also re-emerges; oft overlooked by the might of Red Eyes, Under The Pressure and An Ocean Between The Waves from the Lost In The Dream album. The furious centrepiece Red Eyes is the meat in the sandwich between Disappearing and another revisited deeper cut Comin’ Through. Anyone remember the band playing it on Jools Holland around a decade ago? A version against modern standards that seems quite restrained. They don’t hold back on the whip.

Those three big hitters remain set in stone; like a solid backbone to the set which can then be topped with flourishing touches. Add Strangest Thing to the list that gives Adam a moment to ease off and allow the the crowd take up some of the slack, singing along to the instrumental signature part.

The last album, I Don’t Live Here Anymore, has also grown into a major work. The intro to Harmonia’s Dream seems to last for a-g-e-s as lights strobe in a dense wash of deep orange lights as the album also contributes Change to the party that sees TWOD perhaps at their most REM-est. It offers a gentle prelude to the power of Under The Pressure that pours out in a waves of intensity and offers up another opportunity for some chant along contributions.

Occasional Rain always feels like the perfect way to end a War On Drugs gig and Adam gets his a chance to go to town on a Dylan sneer on the “it’s only some occasional rraaayyyynn” line. It’s hardly an ass-kicking rocker but a friendly and calm come down to send everyone home in a blissfully euphoric state. Who needs drugs?

Tracking back to 8-00pm, Somebody’s Child provided a perfect scene setter. A musical aperitif. They were good! And they’ve earned their stripes with not just this but a series of high profile support slots, playing songs from their debut album and beyond.

Three guitars ensure a spacious reverb and the chance to decorate with some finely intricate guitar chimes, at times venturing into a shoegazey, Post Rock ambience that challenges the Indie labelling. Porcelain sees Cian Godfrey relinquish the guitar, become a hands free frontman and throw some shapes around the mic stand while We Could Start A War has emerged as their showcase number – last track on the album, last song on the setlist. Ready to step into the shoes of the headliners? Maybe not yet but Somebody’s Child are on the right path.