It took a lot longer than anyone had hoped. First covid forced them to cancel one show, and then a visa issue made them have to reschedule their tour from 2025, but after eight years, Scottish rock band Biffy Clyro finally made it back to Los Angeles, adding an extra sense of triumph to an already anthemic show.
Opening the night was San Diego duo Raue (pronounced Rue-Ai), who delivered a brand of heavy, dark shoegaze. For the first half of the young band’s set, it was clear they had the musical skills and the willingness to truly rock, but the songs weren’t really connecting and providing the hooks or melodies to really stick. Things turned around with “Come Around”, a dynamic tune with lightning guitar riffs and a short, memorable chorus that showed off the songwriting chops I had been looking for. The songs following this one continued the duo’s upward trend, with their heavy riffs and rampageous performance being balanced with sharper songwriting (see track “Karma”). The band knew they were there to warm up the audience and help people learn their name – consider yourself remembered with approval.
Biffy Clyro hit the stage to thunderous chants and applause, going right into their recent pop-friendly single “A Little Love,” and by the way the audience was singing along, it was clear there was a lot of love for the band that night. Though missing bassist James Johnston, who chose to sit this tour out to work on his mental health and addiction issues, frontman Simon Neil and drummer Ben Johnston sent their love out to James, and gave thanks and praise to the bassist and additional guitarist joining them for the tour.
When I first heard BC’s album Puzzle back in 2007, the band was being poised to be Scotland’s answer to the Foo Fighters. The band churned out stadium ready songs, with massive hooks that should have had them playing arenas around the world. And while across the pond that became true, for reasons that bewilder me the band haven’t had that break-out moment in the U.S. yet.
This, despite excellent songs like the ferocious “Hunting Season” or stomping “Who’s Got a Match.” The band should be a dual-rock threat – hard enough to be played on active rock stations, yet packing enough melody and heart into songs like “Space” (which had couples holding each other in the audience) to get them on alternative. Shirtless and donning a kilt, Neil gives his sweaty all to the show; giving a powerful vocal performance on track “Wolves of Winter,” and Johnston provide the supremely bouncy rhythms to make “Tiny Indoor Fireworks” a joyful confection.
Neil’s thick Scottish brogue made it nearly impossible to decipher most of his between-song banter, but it adds excellent color to his singing delivery that should be a boon to the band. And in their impressive 21 song set, the band were able to show off their range. “Friendshipping” was a smashing rocker, while “Two People in Love” was a flowing, piano-driven ballad with unique time signatures. But what the band truly excels at is mountain-sized sing-alongs, like the cascading “Mountain.”
My personal highlight of the evening was Neil performing the moving “Machines” solo on acoustic guitar. This song has always hit me hard, and Neil provided the perfect rendition of it. The band then returned for a rousing encore, including “The Captain,” the vibrant “Bubbles” and what’s become the band’s signature song, “Many of Horror.” This one seemed to be as personal to many of those in the audience as “Machines” was to me, based on the passion of those singing along.
Though Neil has acknowledged in interviews about the band’s struggles to really break in America, he still seemed grateful for every person filling the room that night, sending them out with more than a little bit of love.
Biffy Clyro‘s tour is just getting started, so catch them when they come to your town. Dates here. And if you’re just hearing about Biffy Clyro for the first time in this article, start listening to them!
The Indy Review 