Despair, perseverance and redemption played out across 10 songs. And so we arrive at an Editors gig where things just didn't go to plan. Editors played the Festival Internacional de Benicassim, appearing on the Fiberfib.com stage on July 23rd 2006. Their set was plagued by sound problems, and it resulted in something that to my knowledge hadn't happened prior to this; Tom walked off stage mid-song. This is what went down. The band launch into Lights, and then at about 1 minute into the song it's apparent that something just isn't right with Chris/Tom's guitars. Chris' makes a noise like it's been unplugged and Tom is strumming away with no sound coming from his. From that point until just after the the 2 minute mark, Editors have essentially become a drum and bass group because that's all you can hear. They stop playing. Tom apologises before they kick back into Lights, but within a few seconds he throws his guitar to the floor and leaves the stage. The remaining Editors finish out the song, before Tom reappears and they continue their set with All Sparks. One of the amazing things about performing music is the moment where you know how to play a song so well that you don't even need to think about it any more. It's like that idea of "muscle memory", where a person can just react automatically to any given situation. Now by this point in their lives as Editors, the band have played most of these songs a great many times. I would imagine that they would be able to just switch off the thinking part of the brain and just enjoy the experience of being wrapped up in these tunes. It's the thing that allows performers to get up to all kinds of craziness on stage (like climbing on top of pianos/other band members) whilst still delivering the songs in an way that's faithful to the recorded versions. However, the minute you get any kind of equipment malfunction and you begin to focus on that, the joy of being lost in music disappears and you go back to the stress of making sure you're doing it right. Tom has said in a recent interview that he used to put all of his attention of playing the music as perfectly as possible in Editors' early days, whereas now he's more interested in a being a performer on stage. I would imagine that the added pressure of playing to such a huge crowd, and wanting to make the best possible first impression must have played a part too. The band were doing all the right things that usually worked for them, and it just wasn't happening here. So Mr Smith lost his cool and exited the stage, probably more in frustration than anger. If after the walkout he'd refused to leave his dressing room and the whole set ended up unfinished, then I would have to concede that this leaning more towards Axl Rose prima donna behaviour. But he didn't. He came back out and finished up the rest of the songs, like a professional. For me, one thing that saves this show from utter disaster is the crowd. There's an awful lot of people listening, and you can tell from the start that they're behind the band and willing them on as they play. Check out their reaction at the beginning of All Sparks. It's something that isn't lost on Tom as he acknowledges at the end of the set. If you had to choose an appropriate set of lyrics as a summary:- "Open your arms and welcome people to your town?" They sure did. The Setlist Lights (take 1) - 0:10 Lights (take 2) - 2:44 All Sparks - 4:30 Blood - 7:53 You Are Fading - 12:00 Fall - 17:47 Bullets - 23:15 Bones - 26:35 Munich - 32:21 Open Your Arms - 36:26 Fingers In The Factories - 41:15 For more Editors stuff, drop by the Archive https://lemmingarchive.blogspot.com/2017/03/the-archive-index.html brought to you with lots and lots of lemming-love :) x ... https://www.youtube.com/watch?v=Ri3ELpjPCxg

If your head wasn't already twisted thanks to the madness of the last 3 months, try following this. In the sixth month of 2020, the year that never was, this interview between Tom and by KinkFM happened on the eve of what should have been a massive Editors show in the Netherlands at Zuiderpark. They would have been entering the final phase of their Black Gold celebratory tour and taking to a big stage in front of an even bigger crowd. Microbiology intervened, plans were shelved and all engagements have been suspended until this situation is in the rear-view. That could have been the end of it, until this happened. Instead of allowing the occasion to pass unmarked, KinkFM decided to broadcast some previous live goodness by way of a consolation prize for all those fans who have become personally acquainted with disappointment these past few months. This was a very nice gesture by them; they didn't have to placate Editors fans in such a direct way but I'm grateful they did. Thank you, Kink. However, this is where things get a little nutty. As well as their set at DTRH from 2019 geting another airing, KinkFM conducted a mock interview where the participants role played what they would have said had the actual show scheduled for tonight gone ahead. So Tom pretended like the show at Zuiderpark 2020 was about to take place, and gave his thoughts on how things were going and how he was feeling, before Kink played a recording of a show they did a year ago. Confused? You will be. Enjoy the chatter ;) Editors at Down the Rabbit Hole 5th July 2019 (full show) https://lemmingarchive.blogspot.com/2019/07/down-rabbit-hole-5th-july-2019.html For more Editors stuff, drop by the Archive https://lemmingarchive.blogspot.com/2017/03/the-archive-index.html brought to you with lots and lots of lemming-love ) x ... https://www.youtube.com/watch?v=aX_IRo-qKzw

Up next is Editors' first creative peak being played out in front of an audience on the 7th March of 2010, where Editors occupied the Guild Hall in Preston for the evening. It was captured by Archive superfriend and man at the barrier, Mr GaryUK. Many thanks to you for sharing your work, Gary. This is another good one. There's lots to like about this setlist; the slinky sound of King Leetch's bass during the instrumental breakdown of Bones before the "Retreats" (where someone shouts "Russell!"), the slow sadness of The Boxer and the electronic shuffle of Last Day. "It's one hell of a day to die" Put down that slice of chocolate gateau and slap on a party hat, everybody! It's time to put a big sloppy grin on your mug, pour several colonies of ants down your pants and let Editors put you in the mood to dance dance dance! Always with a frown and a sigh, of course. Enjoy the music ;) The Setlist In This Light and on This Evening 0:00 Lights 4:38 An End Has a Start 7:11 You Don't Know Love 11:05 Bones 15:47 A Life as a Ghost 20:12 Eat Raw Meat = Blood Drool 24:16 The Boxer 28:58 Blood 33:55 Escape the Nest 37:37 Last Day 42:13 Bullets 45:30 The Big Exit 49:00 The Racing Rats 53:35 Smokers 58:13 Munich 1:03:19 No Sound but the Wind 1:10:35 Bricks and Mortar 1:14:27 Papillon 1:20:54 Fingers in the Factories 1:26:25 For more Editors stuff, drop by the Archive https://lemmingarchive.blogspot.com/2017/03/the-archive-index.html brought to you with lots and lots of lemming-love ) x ... https://www.youtube.com/watch?v=MSF3s8lXdjk

New equipment, same dedication to the cause. This is Gary's latest special message from the front of house, capturing Editors live for their homecoming show in Birmingham on the 27th February 2020. Huge thanks to you for your work, Gary. I would agree that those drums really are popping on this one. I'm amazed again that you managed to get such a clear recording in such a shed of a venue. The 27th February 2020 is a love letter filled with fondness to a city that assisted the development of the band, and acted as a sounding board and support network for their early endeavors. Consequently this was the one date on the Black Gold Tour that was always going to carry significance and emotion equally. Editors returned to Birmingham on the 27th February 2020, and listening to it is like celebrating the return of a friend that left town years ago to find the world (and possibly themselves). The boys done good. 15 of the 24 songs in the setlist are from the first 3 albums meaning that, as with the other shows that preceded it, more than half the evening's content tilts in favour of those formative years. That's not to say that this is just a simple case of presenting the old classics exactly as they were, more of an occasion to expand and inject some new personality into them. The extra vocal backing on Bullets and Escape the Nest for example, or the acoustic to full band intro on Spiders. They aren't treating their music as if it's the final revelation of some divine creator. The studio takes will always be there, so why not have some fun with the material? This certainly isn't a new idea, having been a tactic they've employed since they started out. Listen to a composition as old as You Are Fading on record and then any live version from 2005 onwards and it's clear that every Editors song has a twin, but they are by no means identical. It also suggests that the creative process that begins with the song being written and then recorded doesn't end. There's a third stage which, appropriately, takes place in front of a live audience. There's no stagnation if movement is still present. During the musical breakdown on Sugar before the chorus you can hear Tom say "You can do better than that", as he baits the crowd, and it struck me how that represented a complete reversal of position for the band. I imagine that their first shows during 2002-2003 where they played to nobody and poured everything into their efforts regardless, must have been a test of will and endurance in the face of indifference and cynicism. Uttering that phrase then would have rang hollow. Now they find themselves almost 20 years later in a position where they command the crowd in such a way that the dynamic has flipped completely. It reminds me of when Oasis first began, and in particular their song Rock and Roll Star. Those lyrics:- "You're not down with who I am, look at you now you're all in my hand tonight" That must have seemed ludicrous to anyone listening when they were playing to 20 or thirty people in a half full toilet on the gig circuit of England during 1994. From the stage at Wembley in 2008, however, not so much. Longevity and commitment to the idea (whatever that may be) meant that the situation had changed, with the situation now making a different kind of sense. They earned it, as I believe Editors have. "You can do better than that..." at Birmingham is a knowing acknowledgement of the shift from understudies to principal players. Anyway, enough chat. It's the music you're here for. Enjoy ;) The Setlist An End Has a Start 0:00 Bullets 4:34 Bones 7:56 Escape the Nest 12:14 Magazine 16:43 Sugar 20:42 Upside Down 25:15 Violence 30:25 Frankenstein 36:27 Papillon 42:01 Ocean of Night 47:21 No Sound but the Wind 52:30 Spiders 56:23 A Ton of Love 1:00:08 Formaldehyde 1:04:18 Eat Raw Meat = Blood Drool 1:08:25 All Sparks 1:13:10 Blood 1:17:03 Fingers in the Factories 1:20:45 You Are Fading 1:25:20 Distance 1:31:40 The Racing Rats 1:36:21 Munich 1:40:41 Smokers Outside the Hospital Doors 1:44:39 For a set of MP3 from this show:- https://lemmingarchive.blogspot.com/2020/03/set-fire-to-fire-escapes-birmingham.html For more Editors stuff, drop by the Archive https://lemmingarchive.blogspot.com/2017/03/the-archive-index.html brought to you with lots and lots of lemming-love ) x ... https://www.youtube.com/watch?v=IGQIbj9XYRA