RIP Magic - a four-piece band with a hologram fan - came armed with a distinct electro-punk sound and surprisingly soft mid-song chat to open up the evening. Vocalist Marco Pini, synth, drum-machine and visual artist Felix Bayley-Higgins, drummer Beth Boswell-Knight and bassist Pedro Takahashi delivered punky spoken word atop a heavy wall of sound backdrop, making for an engaging set. Their varied use of samples was impressive, along with their dynamic movement on stage. Moving with the music, Pini lunged around the space, keeping time with Boswell-Knight’s steady drum, somewhat reminiscent of The White Stripes’ rhythmic style.
Jack White’s backline team were dressed so sharply in suits and hats that it was no surprise the band sounded stellar. When the sculpture from the cover of White’s seventh studio album ‘Good Charlotte’ was revealed from under its cover, the audience's anticipation was palpable. The gig was a no-phone affair, with devices locked away in Yondr pouches before entering. That meant really paying attention to the pre-show playlist, guessing the songs and absorbing the expectant atmosphere to the full. The Apollo was packed, with the audience lining the balcony after student-only £20 tickets were made available from the box office on the night.
White kicked off by utilising every inch of the wide front of stage, shredding from left to right in the opening jam. The spotlight controller had a field day keeping it on White; there was no stopping his energy, tapping his pointy white cowboy boots across the stage as the band descended into ‘That’s How I’m Feeling’ and The White Stripes’ ‘Dead Leaves and the Dirty Ground’. He was already leading a masterclass in confidence and control.
Announced only a few hours before they took to the stage, the crowd could feel the impact of Dolly Parton’s passing on the band. In a truly touching tribute to the late, great legend, White performed a stadium-worthy, gutturally emotive rendition of ‘Jolene’. It was the first performance of the cover by Jack White since The White Stripes debuted it at Madison Square Garden in 2007.
A set fueled by emotion, each track was stacked full of solos and winding jams with White driving his band through a gig of over 25 songs. The crunchy, dark ‘Old Scratch Blues’ went into a cover of Hank Williams’ ‘My Bucket’s Got A Hole In It’. Punk and blues were felt through the lyrics as well as in White’s overall sound, with political barbs against Elon Musk featuring in an improvised section. There was very little interaction with the crowd, with a driving, intensely jam-packed set list filling up an hour and 45 minutes. On stage were a range of guitars, all championing White’s inimitable tone. ‘Broken Boy Soldier’ even included an effortless guitar change mid-song. With piercing feedback, rough, round-the-edge vocals and unending riffs, White’s rawness in his live performances is highlighted by impeccably organised production.
“Welcome to the end of the world” was the dramatic first line of the singles from White’s latest album ‘G.O.D. and the Broken Ribs’ and ‘Derecho Demonico’, which were some of the set’s highlights. ‘Derecho Demonico’ featured a breakdown for each band member before they were each introduced during ‘Steady As She Goes’ in the encore - accompanied by their names up in lights. The three-piece touring band is made up of long-time collaborators Patrick Keeler on drums, Bobby Emmett on keys, and Dominic Davis on bass.
A sweaty towel was thrown into the crowd to kick off the eight-song encore, first launching us into a jam. ‘Icky Thump’ soon followed, a huge fan favourite with all hands in the air as a mosh pit opened up on the ascent. Another The White Stripes favourite, the heavy, bluesy deep cut ‘I Fought Piranhas’ followed ‘It’s Rough On Rats’ - making for an incredibly strong start to the end. White’s high vocals and spiky, preaching delivery stood out against the wall of crunchy sound delivered by Davis’ insistent bass on ‘Archbishop Harold Holmes’. The Raconteurs’ ‘Steady As She Goes’ is a highlight, with its irresistibly catchy chorus. White couldn’t help but grin as the crowd sang it back. Heart-warmingly, I could see many hugs being shared in the stalls; even a triumphantly raised shoe at one point.
There’s not much to say about the sheer power of hearing ‘Seven Nation Army’ live that hasn’t already been said before. The keening sound of White’s guitar over the booming layers of voices chanting the iconic bass line was incredibly special. It has to be seen to be believed. It rounded off what felt like an emotional night for Jack White, who was somehow still at the top of his game over thirty years into performing live.
Izzy Reeve
Image: David James Swanson @davidjamesswanson