![]() Most of the songs were destroyed by his warbling borderline false falsetto attempts to replicate the female vocal parts of the originals, which were way louder in the mix than Eldritch’s own, barely audible much of the time. And what the hell is with the guitarist Dylan Smith taking over all the backing vocals/choirs of the original songs? I wasn’t expecting a 40 part choir during This Corrosion or anything but, this guy just can’t sing. I could hear all of my 15 neighbours chatting away the whole show long. Maybe it was the venue but it was a terrible mix, all thump and bass with the crowd blaring over the top. The worst thing though was the music itself. This makes it difficult to see anything at all really except blue and yellow and red glows from the lights glaring in your eyes. I guess that’s supposed to convey the mystique of the SoM but come on, it’s 2019, not 1989. There’s not a single word of interaction with the audience except for a solitary “Thank you” from the guitarist. But I saw a steady drain of people leaving as the show droned on. This is just about the money, and fair enough, the venue was packed. You can tell he’s done this show what, hundreds, thousands of times? And is heartily sick of it. Eldritch moves around the stage, gesturing like a robot, with all the imputed spirit of one. To be honest, there’s nothing much left except shallow pastiche in 2019. I wasn’t expecting that much, but I wasn’t expecting it to be this bad. These songs are 30 years old and you can really tell from this show. Just saw the same show in Melbourne October 30th and it was miserable. Her new novel, ‘Jackie’ is published on 15 October. Hamill will be interviewing Wayne Hussey live on stage at The Dublin Castle rock n roll book club, on 4 November. This Corrosion is a London based Scottish writer.Shuffling out, I notice that everybody is smiling. Lucretia rules the encores followed by Vision Thing, Temple Of Love(riotous) and This Corrosionand then it’s over and The Sisters Of Mercy disappear. The realisation that Eldritch is still a magnificent mystery is present amongst the crowd (even if he isn’t) and The Sisters Of Mercy remain, on any Eldritch line up, in the skin. We’re treated to No Time To Cry but sadly no Marian which was played the night before. Flood II does it again, the sound is nailed. Everybody is loving Arms which thrusts henceforth with romance.ĭominion/Mother Russia suits the venue and booms out into the round with brutal dominance. Nobody is complaining and old goths in vintage tshirts find youth in their bodies to wobble as we’re all transported back to better times. First And Last And Always has been slowed down a bit since the departure of the wondrous Chris Catalyst, but it’s still played so fast it’s like it’s been run inside a washing machine on spin. One of the new songs, Show Me, sounds amazing and I’m dying to hear it again. We’re standing at the back near the pillars and I enjoy seeing the finger shapes of hands through the lights which all adds to slight horror film ambience but at this point I’m jealous of those crushed at the front, getting the full black rush. Arms are up in the air voices sing every word as the band race through the set with customary and satisfying zero chit-chat in between. The new 6’5” tall guitarist, Dylan Smith, makes an impressive frame as he delivers the crispy twisty Sisters sounds really well, particularly on Alice, when the lights take a ballistic turn. I’m frustrated with his fidgeting but his voice is just perfect. Thus ensues a show where my eyes chase Eldritch round the stage in and out of flashing lights and shadows as he plays hide and seek and I try to get a glimpse of his Voldemort silhouette. In and out of the black to the back, front, left and right, impossible to see. Where is he? Oh! He was at the side of the stage doing the intro. The crowd immediately shout back ‘MORE!’ in response and we’re off on a high bounce. There’s a blinding lightshow of blue spot lights amidst the darkness of the stage as More opens the show, and yes, Andrew (interviewed in depth here) sounds magnificent and deep and distinct and brutal and croaky and precise and exactly and bang on – as he should. ![]() They are a fix, a buzz, everything Andrew Eldritch delivers in hot deep drawl, and as I head to The Roundhouse I feel the thrill of fifteen, and I’m absolutely desperate to hear ‘Marian’. They sound only like themselves, and this can’t be over-emphisised. Thirty years on, The Sisters Of Mercy are still one of my most listened to bands. ![]()
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