For a band who have not officially released any new material since 1990 (and with a discography boasting just three albums, various EPs, singles, and compilations), Sisters of Mercy continue to hold remarkable sway over their legions of followers. Certainly, Temple of Love remains a ubiquitous rock club anthem, regularly packing out the dance floor with its timeless groove, while the promise of new material (posted on the band’s official site) ensured that this special London show (the first of two nights) is rammed.
Held at London’s Roundhouse, arguably the perfect venue for an atmospheric rock band like the Sisters of Mercy, the towering columns that flank the pit are mirrored by huge lighted pillars on stage, creating a suitably grandiose aesthetic for the show. However, before we get to that, those who arrive early are treated to a forty-minute set from support band The Virginmarys.
Hailing from Macclesfield, The Virginmarys are a two-piece band, featuring Ally Dickaty on guitar and Danny Dolan on drums. With three full-length albums under their belt since 2009, and touring credits including Shinedown, Skunk Anansie, Slash, Feeder and QOTSA, the band are already seasoned veterans, and they draw a surprisingly appreciative reaction from one of the most partisan crowds in rock.
Offering up an eclectic set, the band’s sound may have a punk core, with acts like The Hives serving as a reference point but, across their set, they draw in influences from the likes of QOTSA, Nirvana, …And You Will Know Us By The Trail Of Dead – all the more impressive considering there are just the two members on stage. Right from the opening track, Ally and Danny showcase their impressive chops and a near-symbiotic relationship that sees them blaze through the songs, only occasionally looking to one another for confirmation that they’re on point.
Tracks like Killer, with its nimble, descending riff giving way to a staccato beat are welcome, while Devil Keeps Coming takes on a much harder aspect in the flesh, the battle cry of “this ain’t California, this is war” echoing around the venue amidst a stream of splenetic guitar. It’s only towards the end, having brought the steadily growing crowd very much on side, that the band dip into a more familiar “two-piece sound”, set closer Bang Bang Bang (from the band’s King Of Conflict debut) being a case in point, but overall The Virginmarys do a rock solid job of warming up the crowd, converting a fair number of the assembled throng to their cause in the process.
And so, to The Sisters of Mercy. With the audience cheering and clapping even before the band emerge from the haze of smoke, it’s clear that expectation levels are high, not least because a number of (relatively) new songs are being aired amidst the classics, but the show proves frustrating thanks to an uneven sound that frequently obscures Eldritch’s vocals. This is particularly apparent during the opening song – the as-yet-to-be-released Don’t Drive On Ice – as you can’t even intuit what the vocal melody should be, which is a shame because both band and song sound great. With Ribbons similarly obscured and another new one in the form of I Will Call You failing to land, you can feel a certain discontent start to form in the venue, although it’s clear that the issues are worse in some parts than others, as the pit largely remains engaged throughout.
While things do steadily improve, the discontent is not confined to the audience. As the set progresses towards more well-worn fare such as Dominion / Mother Russia, the crowd bolster the vocals, singing along with gusto, while guitarist Ben Christ also helps to round things out. Dylan Smith, however, can frequently be seen gesturing frantically off stage, and it’s obvious that the band, or at least certain members, are also struggling with the mix – something which comes to a head during the encore, resulting in Dylan leaving the stage (and, by the looks of it, the band) at the start of Temple Of Love.
Yet, despite the challenges and the drama, it’s still an immensely enjoyable gig. The band sound tough and tight, with tracks like Vision Thing (YES!) taking on an industrial urgency that leaves the studio originals gasping in their wake. The new songs aired later in the set are also tantalisingly brilliant, notably Eyes Of Caligula, which has a Placebo-esque pulse; and the frantic Crash and Burn (in the set since 2000 and still unrecorded), which is one of the set’s heaviest moments. Other highlights include the dry ice darkwave of On The Beach, and a particularly moody When I’m On Fire, both of which would be welcome additions should the band choose to enter the studio.
Of course, there are plenty of classics sprinkled throughout the band’s lengthy set. The likes of Doctor Jeep / Detonation Boulevard, Lucretia My Reflection, This Corrosion, and the aforementioned Temple Of Love are all timeless cuts from which no amount of sound issues can detract and, while the vocals may be low in the mix, the audience prove more than willing to make up the deficit. Moreover, the cheer that greets the band on their return to the stage for the encore is both deafening and genuine.
Overall, tonight’s set is an uneven affair. The visible tension on stage that results in Dylan Smith vanishing for the final two songs lends a febrile atmosphere to proceedings, while the ongoing sound issues serve to obscure what should have been an awe-inspiring set. Yet, for all that, this is the Sisters of Mercy, and there is much to enjoy for those who persevere. By the time Temple of Love’s oh-so-familiar drum beat detonates, the vocals are closer to the fore, while the new songs slot neatly in alongside the classics making the prospect of a new album all the more tantalising. A difficult show then, but memorable nonetheless, the Sisters of Mercy remain a very special band, and the Roundhouse is surely their perfect setting.
The Sisters Of Mercy tour continues in November:
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