Kapranos brought the fan on stage and drummer Paul Thomson handed her his sticks and got up from the drum stool.
But none of that seemed to matter as the band played a brilliant set and seemed to genuinely be enjoying themselves, rather than simply running through a game of modern rock band bingo.Ībout two-thirds into the set, singer Alex Kapranos spotted a sign being held up by someone in the audience that read “I want to play drums on ‘Michael’”). On the surface the band seemed to be checking off all of the boxes on the Rock and Roll Cliché Live Show list (Constant namechecks of the city you’re in: “Are you ready to feel the love Philadelphia?” Check holding the mic out to the crowd to sing the chorus? Several times bringing up an audience member to play on a song? More about that in a minute, but yup). Opening with “Always Ascending,” the title track off their latest – a song that seems to have morphed into an instant classic with fans despite the short amount of time it’s been out – the band played with the enthusiasm and energy of a group headlining stadiums (rather than the 2,500-capacity club they packed that night).
But the years since have done little to temper the enthusiasm from diehard fans who turned out to see the band 14 years later, and just two months after the group put out their fifth record. “ Songs of the Decade” (12/9/09).It’s been more than a decade since Franz Ferdinand’s self-titled debut took over just about every radio with songs like “Take Me Out” and “This Fire,” earning the Scottish dance rock band platinum status here in the U.S.
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The song “a crowdpleaser that doesn’t sound out of place blasting during half-time at an NBA game.” PE but is still “a smash hit that was still cool for the indie kids to love.” PE It may be “the most surefire winner any DJ can have in his repertoire.” NME’09 “After a tense build-up…‘Take Me Out’ sounds ready to blast off instead, Franz pull an aesthetic 180 and slow it down into a militaristic, libidinous funk stomp.” PF “This mod guitar stomp rules any bar where the girls feel like dancing,” RS’09 but is “still heavy enough to lure in those girls’ jock boyfriends.” PF It “remains one of the most satisfying moments in guitar-pop this decade has produced.” DS “Aspiring buzz bands realized that, down on the disco floor, they could really make their profits” PF and “with one song the Empire struck back.” SY Franz Ferdinand “brought the groove back to indie rock.” PD “‘Take Me Out’ crams every known Britpop trick into its fevered four minutes.” SY These Scottish rockers “took a certain strain of cooler-than-thou, spiky post-punk,” MX gave it a dose of “Beatlesque fluency,” SY “and gave us permission to dance to it.” MX It is “effortlessly arty and deliciously fun, at the same time.” NME’09
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The grunge that ruled the ‘90s gave way to the “retro garage-punk emerged as the predominant strain of post-millennial rock music in 2001.” PF American bands like The Strokes and The White Stripes were leading the way, leaving “Britain’s indie aristocracy looking bloated, boring, and irreversibly out-dated.” SY However, this was more serious-minded music, making one thing clear: “rockers forgot how to dance.” PD Sales (in millions): 1.1 US, 0.6 UK, 1.7 world (includes US + UK) Writer(s): Alex Kapranos/Nicholas McCarthy ( see lyrics here)
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