Music: Everything Everything @ The Scala

A packed Scala played host last night to new indie scene darlings Everything Everything, whose angular, disco-influenced sound has been taken to the bosom of critics, DJs and bloggers everywhere (and that includes me, don't think I've left myself out!). A four-piece from all over who released their first single in 2008, they've burst onto the scene with their debut album, Man Alive, and sold out this medium-sized show with ease.

And it was with a keen urge to impress their numerous fans that they took to the stage, jerking into action with the scuzzy, rawkus 'Qwerty Finger'. The sound was big and bold and tight and immediately filled the room with the combination soaring keyboards, sharp, guitars thudding drums and frantic, almost schizophrenic vocals that make their record so interesting. Jonathon Everything (the band are keen to hide their full names on websites, the bastards) is a rare talent, in possession of a superb vocal dexterity and able to manipulate his voice through the ranges, hitting high notes with precise control and delicacy, whilst simultaneously using the rhythm of his lyrics as a percussive instrument, adding another joint, or point, to their already textured sound.

With further tracks from the album such as 'Come Alive Diana' and 'Schoolin' came a steady progression of lively, impressive crowd-pleasures, but there was an air of predictability about the performance, and a distinct lack of whatever it is that makes bands memorable. When the quieter, more contemplative 'Leave The Engine Room' was the start of a half-hearted crowd sing-a-long, there was a danger of this gig finishing with a disappointingly under-whelming sigh, but with 'MY KZ, YR BF' the band's flagship single, came a rejuvination. The final few tracks of the set, and the encore that followed, displayed an aggression and energy that proved that Everything Everything are better compared to a Late Of The Pier than a Foals, more Post War Years than Friendly Fires. Beneath the three-part harmonies was suddenly a wall of guitars and pummelling riffs on tracks like 'Suffragette Suffragette', that sounded more dangerous and thrilling but never looser. Still tight as ever, they just notched it up, and benefitted handsomely.

'Photoshop Handsome' brought the encore to a rawkus, reckless end, and the band were quickly offstage, bereft are they of any real crowd communication skills. It is not surprising to see contemporary, intellectual bands perform for an hour without saying more than ten words to their audience, but it doesn't make us yearn for it any less. The art of showmanship, amongst the indie community at least, does seem to be on the wain, but then this does not distract from a good show and Everything Everything did indeed perform with skill and size beyond their relatively infantile years as a group.

It is sometimes a disappointment to see a band unable to translate their recorded sound for the stage, but Everything Everything are more than able to do so, and with a refining of their onstage charisma they could have themselves a jolly good show to offer.