The Darkness Shine a Light of 25 Years of Hits in Edinburgh

★★★★★ (5/5)

THE DARKNESS PERFORMING AT EDINBURGH’S USHER HALL
PHOTOCREDIT: CALUM BUCHAN

The full house at Edinburgh's Usher Hall was a testament to The Darkness’ enduring popularity, even after 25 years at the rock and roll coalface. The audience was at a high level of excitement even before the band took to the stage.

Much of the credit for this must go to the support band of Irish rockers, Ash who shared their quality songbook of hits with full on gusto. Crowd pleasers included the nearly 30 years old Girl from Mars and Angel Interceptor and their latest single Jump in the Line.

The audience voiced their full-throated appreciation for Ash’s tunes and passion.

When The Darkness strutted onto the stage, they brought a complete disregard for subtlety. In an age where a look-at-us earnestness reigns supreme, these glam-rock revivalists demonstrated that sometimes, the most subversive act is simply to kick out great music with a wink, a smile, and your top off.

Frontman Justin Hawkins, a man who has never met a falsetto he couldn't conquer or a stage he couldn't dominate, prowled the boards like a strutting Freddie Mercury or a tattooed matador. His unique voice cut through the already steamy air of the venerable hall. The crowd, a mix of ageing rockers and young converts, were into it from the first notes, belting out the words of the opener, Rock and Roll Party Cowboy.

The band tore through their catalogue with the ferocity of men possessed. Get Your Hands Off My Woman and Barbarian had the audience in Justin’s pocket. Hawkins deployed his whole bag of tricks, synchronised arm waving, call and response, and head standing on the drum riser, at one point, he even had the crowd marching right and left to the chorus of Walking through Fire.

Japanese Prisoner of Love transformed the grand room into a heaving, sweaty temple of rock 'n' roll excess. The brothers Hawkins worked in perfect synchronicity, their guitars duelling and harmonising. Bassist Frankie Poullain and Rufus Taylor on drums anchored the proceedings with cool detachment, both genuinely looked like they were having a great night.

Between songs, Justin Hawkins engaged in a personal and fun conversation with the crowd, telling them it was his birthday the day before (cue a rousing Happy Birthday to You), asking them to buy the new album and letting them know how much he enjoyed playing in the city.

The set reached its peak with one of the songs the crowd was waiting for, I Believe in a Thing Called Love. Before getting going, Justin asked the crowd to put away their phones and enjoy the moment. There was a great response, with almost all the phones going into pockets. The band kicked off with a verse from Zeppelin’s Immigrant Song before diving into the 2002 single.

Hawkins commanded the stage, hitting notes that must have made dogs in Glasgow cover their ears. It was ridiculous. It was sublime. It was exactly what rock music should be.

By the time the encore rolled around - blistering versions of Weekend in Rome and I Hate Myself, the audience was spent, their voices hoarse from singing along, their bodies drained from the exertion of keeping up with the band's relentless energy.

As the final notes faded and the house lights came up, revealing a sea of happy faces, it felt that The Darkness had accomplished something remarkable. They had delivered a show that was at once a throwback to a more theatrical era and a template for what rock music could be if it would only loosen its collar and remember that it's supposed to be fun.

The Darkness are at heart, a quality rock band, prepared, professional and purveyors of a first-class songbook. They proved that sometimes the deepest truths are delivered with a smile, a shout, and a perfectly executed high kick. And isn't that what rock 'n' roll was always supposed to be about?