Jimmy Eat World, Brixton Academy, London
Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Anyone who was a teenager in the early Noughties will remember that no road trip, house party or first-generation iPod was complete without Arizona rockers Jimmy Eat World's most successful album to date – 2001's Bleed American (rebranded as a self-titled effort after 9/11).
Since then, the quartet's record sales have numbered millions and as a result, the band successfully packed out Brixton Academy to promote their seventh studio album, Invented.
However, Jimmy Eat World's more recent efforts have often come under fire from critics and it's clear from the start that the crowd of twenty- and thirtysomethings aren't there for new material. And strangely, despite the billing, it doesn't seem like the band are either.
Still proudly carrying the emo-rock torch, frontman and main lyricist, Jim Adkins, gives little banter but doesn't fail to impress with the band's back catalogue. Throughout "Futures" (the title track from the 2004 album) and a reflective "Big Casino" (from 2007's Chase This Light), he sings with the same signature sincerity layered with pent-up frustration that has always laced the band's songs. "Pain" and the moving "Hear You Me" offer powerful midway singalongs that spark the appearance of a sea of illuminated mobile phones and cameras.
Despite whipping out the acoustic guitar for new track "Movielike", and prioritising the title song on the new album as a first offering for the encore, Adkins struggles to keep the crowd's attention, and chatter overwhelms his efforts.
It's a different story for the last three songs – a cascade of classics made up of "Get It Faster", "The Middle" and finally, "Sweetness" – performed with a freshness that can't be easy to achieve. Far from being disappointed with the crowd's desire for their older efforts, the band linger on stage, basking in screams and cheers, with their broadest smiles of the evening. Adkins looks elated – and so do the fans.
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments