Future Islands at O2 Academy Bristol, gig review: Samuel T Herring gives a memorable performance

Prowling the stage, beating his chest, face contorted in torment: the frontman is at times closer to a stage actor than a pop star

Samuel T Herring of Future Islands performs at SXSW Festival in Texas, 2017 (Getty)

Samuel T Herring, Future Islands’ crooner and gymnastic centrepiece, has just picked himself up off the floor.

“It took 1,070 shows to fall the f*** off the stage,” he says. “Don’t worry, I’m okay.”

It’s an occupational hazard for Herring, who fronts the band with boundless energy and a menagerie of dance moves.

Tonight we are treated to the pogo, the knee-tremble, some mightily impressive cossack dancing and a lateral boogie that if attempted by another might be labelled “dad dancing”, but delivered from the hips of Herring is the coolest move to be seen this year.

It was this move among others that brought Future Islands to the attention of the mainstream on The Late Show with David Letterman in 2014.

If you’ve not seen the clip, watch it. “Seasons (Waiting on You)”, the song they perform, is a genuine pop gem, but it is Herring that is instantly memorable. His dancing is matched by his extraordinary voice, plunging implausibly from Neil Diamond into death metal bellow.

Tonight his demonic growls are met with whoops of joy from an adoring audience. They are here to revel in Herring’s on-stage intensity, albeit with much less wiggle room than their idol – the house is packed and any attempts to ape Herring’s expansive moves would prove impossible, or at least very unpopular.

Prowling the stage, beating at his chest, face contorted in torment, Herring is at times closer to a stage actor than a pop star, delivering lyrics that – on new album The Far Field – explore themes of separation and heartbreak. Latest single “Cave”, is particularly stirring, with its “I don’t believe anymore” refrain.

Herring often credits his bandmates for the musical intensity they bring to Future Islands’ live performances. While tonight they remain stationary and solemn they are an impressively tight three-piece and they match Herring’s energy with their own unerring drive across a lengthy set.

Special praise should be reserved for drummer Michael Lowry who from the back of the stage propels everything with precise urgency. It’s a transformative decision to employ a live drummer, especially such an accomplished one, over the drum machines preferred on the album.

An impromptu can-can finally stops Herring in his tracks. His disappearance from view initially seems planned – maybe he's doing the worm, or the Homer Simpson floor spin, obscured from view. In fact, he simply fell off the stage, but within moments our irrepressible hero is dancing again.

And herein lies Future Islands’ appeal. Their solution to a world of torment and heartbreak: forget yourself and dance.