By Gary Numan’s concert on October 3rd shook the dark environs of The Sovereign. His excited fans were worked into a kinetic frenzy by the floor-shaking sounds of the electronic music pioneer. It was a reciprocal relationship as the singer popped, contorted, and threw every fiber of his being into the music he and his band were throwing down.
Check out photos from the concert by Jerry McGrath.
The evening of machines, metal, and mayhem featured a serrated set filled with classic hits and new material. The synthpop sound of Numan’s past has been replaced by a heavier, more industrial sound. This matches the progression of his last few albums, which have relied heavily on buzzsaw guitars and driving percussion.
Hitting the stage with the strength of a battering ram, he launched into “Halo” followed by a rambunctious version of “The Chosen.” Those waiting for older material were thrilled with denser and grittier versions of “Metal” and “Films” early in the set.
These classics meshed seamlessly with the searing versions of “The Chosen” and “Everything Comes To This,” which proved to be a highlight of the evening. Also excellent were two songs from “Savage: Songs From A Broken World,” “Ghost World,” and My Name Is Ruin.”, each featuring fierce guitar solos.
At 67, he remains a beast on stage. Flailing, contorting, shaking, and jumping around with the vigor of someone half his age. The robotic stage persona of his youth is now a thing of the past.
His voice, though at times a bit weak, was generally in fine form. Especially for two of his seminal tracks, “Down In The Park” and “Cars.” Both reworked for contemporary times, they featured distorted guitars and vintage atmospheric synths that made them so beloved.
Fuzzy and furious, his set was unrelenting. Closing with “A Prayer For The Unborn,” his high-octane set fit snuggly within the confines of The Sovereign, a building with its own industrial past. Offering room to
dance or simply rock out, the venue was an ideal setting for Numan’s sonic assault.
Unrelenting in their enthusiasm, those in attendance were thrilled for an encore. Stepping out from the dark, Numan launched into a scorching “Love Hurt Bleed” a song from 2013’s “Splinter (Songs from a Broken Mind).” Connecting the past with the present, the electronic music pioneer finished the evening with another classic, “Are Friends Electric,” before vanishing into the night.
Opening the show was Los Angeles-based shoegaze duo, Tremours. Their set was fantastic. Lauren Andino’s ethereal vocals are reminiscent of early Cranes or Mazzy Star.
Leading with a cover of The Jesus and Mary Chain’s “On The Wall” before launching into selections from their debut, “Fragments,” their sound was filled with murkiness and melodies. Their set was highlighted by the textured “Landing In Rome,” and “Tracers,” as well as a crunchy rendition of “Dark Glasses.”
Paired with the airiness of Tremours, Gary Numan’s first St. Louis gig in seven years didn’t disappoint his fans. Metalized and mechanized, his backing band fired on all cylinders, allowing the frontman to turn on the showmanship.
Despite changing styles and aesthetics throughout the years, Numan’s themes of dystopian chaos, isolation, internal angst, and alienation remain constant, connecting him with multiple generations of goths, synth kids, and industrial music warriors. Never sounding stale, his music continues to connect with those living in the darkness.
Crafted from over five decades in music, Gary Numan’s visit to the Gateway City found the elder statesman of electronic music holding court. Those who bore witness were satiated by the proceedings.
Photo Credit: Jerry McGrath