Metronomy Unleash the groove monsters in the gas gauge

We had to wait a long time, it was time yesterday evening: the Austrian Metronomy’s party, which was often postponed, was finally held. Joseph Mount and Cauchert turned the gas meter in Vienna into a temple of dance.

by Xavier Stockinger

Yesterday it was already evident in the queue in front of the gas gauge: anticipation crept out from every pore of waiting and rolled the entrance area in front of the old gas storage facility at Simmeringer in a happy, nervous mood cloud. The Metronomy concert was originally scheduled to take place in Vienna in September 2020, so some tickets looked like the ones at the entrance. It shrivels and yellows, as if hope for its use has long been lost.

Franz Reiter

But all the wait was forgotten when Joseph Mount, Oscar Cash, Michael Lovett, Anna Prior and Olugbenga Adelekan took the stage at 9pm on Monday night. Also in Baggage, a brand new, seventh album “Small World”. The set that followed was a stellar collection of tried-and-tested songs mixed with the pop of the rising sun (in the best sense of the word) for the new album. The slightly lighter “Love Factory” of the new LP was the opening. But it wasn’t long before Metronomy unleashed its groove monster: “The Bay” and “It’s Good To Be Back” barely left two legs unturned. The big dance was going on.

Song for song, Metronomy and the audience are doing everything they can, hitting on each other. You haven’t had each other for a long time, it was very difficult to withdraw. The gas gauge boils when, in the midst of a moment of silence near the end of the group, the echo organ of “the gaze” suddenly rings. Many were waiting for this song. Naked orgasm spreads. From all over the hall, people are now flocking towards the stage, wanting to get close to the music and ecstasy. When the lights come on again after about two hours in the gas gauge, your legs are heavy. But a piece of bliss shines through in nearly 3,000 sweaty faces.

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