Opening with ‘Cameras’, Editors frontman Tom Smith brings a Phantom Of The Opera feel to tonight's proceedings. He stands quietly to the left of stage, refusing to make eye-contact or otherwise engage with the audience. We watch and wait. But not for too long – seguing into ‘An End Has A Start’, Editors suddenly quicken the pulse and the room seems to ignite.
“So we didn’t get a Brit,” Smith says. He’s not worried. Collectively, Editors bring massive energy to the set. Their leader, however, gives off a more stagey vibe than his bandmates. His Fabulous Baker Boys Go Punk piano moment feels more stage school than school of hard rocks.
‘Munich’ marks the turning point, the crowd moving, the band feeding off it. The slow burn pays off as they crank up the momentum. A show-stopping ‘Smokers At The Hospital Doors’ proves a great example of what they do, when they really do it.
Still, it’s said that the most attractive quality is being great and not knowing it. Editors may know too much, a little too soon.