Perfectly symmetrical

Opening the night were Katzenjammer, a Norwegian girl group who had previously supported Keane on their Oslo gigs last year. Their eclectic mix of instruments (even including accordions, kazoos and a self-made triangular double bass) and diverse song collection gave them a unique sound and unhinged energy somewhat like gypsy punk band Gogol Bordello.

Following Katzenjammer was the second support act of the night, Frankmusik, a British electro pop artist and former beat boxer who had become known to Keane after remixing some of their tracks last year. His use of heavy bass sounds, techno drum beats and synthesised tones gave his set an 80s disco feel, quite reminiscent of Calvin Harris.

The energy well set by the two supports, Keane took to the stage, opening with their second single from the album, Lovers are Losing, before moving onto the classics Everybody’s Changing and Bend and Break.

From there it was back into the new material with tracks such as the disco inspired Again and Again and the first release, Spiralling. Such new material was well interspersed with hits from their previous albums such as Bad Dream, This is the Last Time, Crystal Ball and Somewhere Only We Know, as well as some fan favourite rarities such as Snowed Under and The River and Sunshine, to ensure everyone was happy.

The technical effects began modestly, yet progressed as the show warmed up with impressive lighting effects and a creative use of computer graphics to accompany their new disco feel. However, such spectacles were poignantly counter pointed with the more intimate moments of acoustic pieces, where lights were lowered and the band moved onto the B stage to play amongst their fans.

The incorporation of film was also highly effective, one particularly haunting piece being a black and white clip of a war-era dance hall with its dancers wearing gas masks, used as a backdrop for Bad Dream.

What was also notable was Chapman’s growth as a front man, now with a much bigger stage personality and a voice that lent itself well to the arena atmosphere. His voice on the new tracks contained hints of The Killers’ Brandon Flowers, and his focus on the ethical responsibility of music gave him almost a Bono-esque quality. New member, Jesse Quin gelled well with the band and the greater use of guitar ensured a slightly heavier sound.

The band closed with Crystal Ball to rapturous applause, and came back for an encore with Playing Along, Black Burning Heart and Is it any Wonder, and finally closing with Bedshaped. One factor which has personally prevented me from having any more than a modest liking for Keane is that they never seem to achieve either the power needed for an anthemic sound (Such as Muse or The Killers), or the delicacy for a poignant ballad (although Bedshaped comes close to the latter.)

What was interesting to note therefore, was that in its use as a closing track, Bedshaped in fact became the anthem of the show, provoking a mass sing-along from the audience and a final exertion of energy from the band, making it an effective end to their final UK show of the tour.

Keane may be a highly mainstream act with a very commercial sound, but the size of their current tour is testament to their popularity and an effective reminder of how large a catalogue of hits they have amassed over their twelve years in the industry. And ultimately, they do put on a very good show.