The Cribs, Millennium Square, Leeds, gig review: 'A vitality and momentum intact'

It’s been 15 years since The Cribs formed and their transformation from playing tiny sweat boxes in their home town of Wakefield to this huge open air venue is not lost on them, as they frequently tell the audience what a momentous occasion and dream-like realisation it is.

But as they open with “Ancient History”, the sound struggles to fill the sizeable space and the drum thwacks are rendered quiet duds behind distant guitars and struggling vocals. Things soon pick up as the group pace through their six-album discography, with most albums getting a notable outing, with the exception of their debut, the only track from that being the rudimentary but infectious “Another Number”.

Over the course of 90 minutes, it becomes evident that behind all their scrappy, noisy, riot grrrl-indebted guitar thrash The Cribs are fundamentally a pop group as much as anything else. As giant confetti cannons rocket into the air, with mass sing-alongs charging through the crowd, the atmosphere feels a great deal like a pop show too. The mood does overspill into lager throwing boorish aggression on numerous occasions but for the most part it feels more like a celebratory victory lap for the band, a proximate homecoming show in which the band mark their transition from lo-fi darlings to major-label signed behemoths whose albums now constantly chart in the Top 10.

Having invited Thurston Moore to support them, another Sonic Youth-related highlight comes in the form of “Shoot the Poets”, which is a pulverising and forceful rendition as Lee Ranaldo’s pre-recorded spoken-word vocals power over the top of wiry guitars and shredded vocals. This leads into the final stretch of the set, which is the strongest and most intoxicating run of the night (prior to that the set never quite picked up any real feeling of momentum or cohesion).

The run features: “Hey Scenesters!”, “Leather Jacket Love Song”, “The Wrong Way to Be”, “Mirror Kisses” and “Men’s Needs” before the closing screech of “Pink Show”. It’s within those last seven songs of the set that the group feel most alive and vital, a combination of pop hooks driven by a more experimental, angry and noisy thrash - an emblematic fusion of the group’s finest and most charming characteristics.

The evening is not without its more anaemic and patchy moments but of the whole host of mid-2000’s indie bands – many of whom have weathered terribly or died altogether – The Cribs have come through the other side with a vitality and momentum intact.