Leftfield at Brixton Academy
Leftfield’s Neil Barnes and Paul Daley made an indelible mark on the music industry with their debut album, Leftism, in 1995. Earning a Mercury Prize nomination, it was an important step in proving the mainstream viability of dance music. It furthermore demonstrated that an electronic album can be crafted with as much cohesion as any other genre. Leftfield have released three more albums since then, establishing themselves as a significant force in the development of the UK dance music scene. The group carved out a formidable reputation for their live shows too; temporarily banned from Brixton Academy in 1996 after volume levels damaged the ceiling, they’ve certainly set a high bar for themselves.
Daley chose to focus on his solo career after a hiatus between 2002 and 2010, leaving Barnes to head the project. The live trio consists of a drummer, with longtime audio engineer Adam Wren handling the backing tracks, and Barnes manning an array of synthesisers. The live drums come into their own during the shattering breaks on Storm 3000, blending with layers of electronic drum machines to add a complementary human touch. Effectively mixing live and pre-recorded elements can be tricky, but the group have clearly spent years perfecting it.
Although Leftfield are broadly labelled as progressive house, they draw liberally from reggae, dub and breakbeat. Earl 16 leads the audience in an infectious call and response throughout Release the Pressure, carrying a message of unity and peace aloft a thrumming bassline. The influence of soundsystem culture runs through Leftfield’s setlist, with its focus on community values, and this is when that inspiration is most meaningfully felt.
Slower moments allow the crowd to recoup its energy before launching into heavier cuts. Song of Life begins as an airy downtempo number, featuring a dramatically echoing harmonica solo, before morphing into a driving techno track. Open Up features John Lyndon’s voice blaring over clamouring electronics in a brutal takedown of his adopted home: “Burn, Hollywood, burn.” It’s a sharp contrast against Earl 16’s message of peace and love, but Lyndon’s recorded performance is equally compelling.
Leftfield successfully channels their experimental ambition to the stage. They have returned to Brixton with strength, even if there wasn’t any plaster falling from the ceiling this time around.
Ben Browning
Photos: Miguel de Melo
For further information and future events visit Leftfield’s website here.
Watch the video for the single Rapture 16 here:
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