Not only did they drop any hint of “The” before their name and dress impeccably, but Editors came to the Warfield Friday to conquer that downtown stage. I was drinking a beer when suddenly the vibrations from the strength of Tom Smith’s voice literally shook the contents of my alcohol, and I knew it was going to be a grand time.
I was absolutely stunned to find Smith’s voice as powerful as it was, at times resonating throughout the entire venue from wall to wall, commanding complete control of the audience. It’s a depth and impact I’ve rarely seen in front men, particularly in the shoegazing variety. It’s a focused and precise bellow, with a root that starts in the belly and thunders through Smith’s throat to deliver such a punch in baritone I was floored most of the evening by its power.
Editors that night did a thorough scope of their catalog, from breakout hit “Munich” and “Blood” off The Back Room to “An End Has A Start” off their second album of the same name. Smith provided much of the entertainment for the night, climbing on top of his piano to pose, wrapping his arms around his whole body while cocking his head at a sharp angle to sing, or simply picking the axe. It was a less talk, more shred kind of night.
While a common complaint among friends I went with was that the band was not as lively as expected, I’d also advocate that for the sheer tightness of their sound, it was forgivable. The UK outfit is equipped to deliver a delicious concoction of layered sound, luminous and lofty guitar riffs, and a furious drum line. And while the comparisons to the likes of Interpol and Joy Division won’t die anytime soon, Editors are doing what they do best, and in their own element.
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