Radiohead: A Long-Awaited Comeback

I was lucky enough to get last minute tickets for Radiohead’s show at the O2 London Arena on the 22nd November and I’m uncertain that enough written words can express both my gratitude and awe. Not only was the set list incredible and Thom Yorke’s energy exuberant, but equally the presentation of the show was incredibly encapsulating. From the circular shape of the O2, and how this changes the feel of a concert, to the lights, the projections and the screens, everything was meticulously calculated and objectively perfect.

Radiohead did not have a supporting act, doors opened at 6pm and Radiohead came on at 8.30pm. I’ve heard some people calling this pretentious and arrogant though for me, I think it’s quite chic. Considering the fact that Radiohead’s last tour was in 2018 (I was 12 years old then, insane!) many people have waited a long time to experience the highs and lows of Thom Yorke’s vocals and having this be the sole performance of the night was, for me, perfect. Also realistically, who is going to open a Radiohead concert correctly? In a sense also it was a way to ensure that everyone in the crowd was super invested in what was about to unfold; there was no limelight hijacked, there was no awkward questioning of when a support act would finish, but instead there was full focus and attention on the upcoming experience. There were pockets of conversations of potential songs and the order of the setlist among moments of pure joy and excitement. Overall, this waiting period was almost integral for setting the standard of Radiohead’s performance. 

Another relatively interesting thing that I found was that there was virtually no talking from Thom Yorke, let alone the rest of the band. Throughout the two hour performance we got a couple of “thank yous” from the lead singer and honestly that was about it. In some ways I did enjoy this, some gigs I have been to sometimes are too full of conversation, though I do feel as though the best gigs are those that have a balance; a little bit of chatter but the wider focus is on the music and performance itself. Sometimes I find that there is the ability to get a little insight into the artist when they interact with the crowd, though more specifically when it is a smaller scale concert or gig. Radiohead however, are known for their limited crowd interaction in order to maintain a continuous, immersive atmosphere which did do the job. There was full, undisrupted focus on the music. Yorke is known to be less engaged in ‘showman style’ banter than most artists, instead pouring his full effort into reproducing Radiohead’s stunning sounds on stage.

A standout of the experience of seeing Radiohead live has to be the screen projections and lighting used, designed by Andi Watson. They used large projections, via dynamic video panels and light columns, to augment what was happening on stage in artistic sequences, rather than just upscaled, magnified footage of the show which was simply incredible. There were different colours used for different songs, all of which matched perfectly: teal and light blue for ‘No Surprises’, pink for ‘Weird Fishes/Arpeggi’ and ‘Jigsaw Falling into Place’ and a technicolour display for ‘All I Need’ and ‘Let Down’. Each of these choices measured perfectly for the songs themselves and the switch between different colours, lighting and images really continued the focus on stimulating the senses, maintaining the immersion in the concert. Overall, this was an imperative part of capturing the desired vibe for the concert and projecting the artistic visions of the band. Though, interestingly there were changes made this time around to their previously regular colours for each song. This could be an understanding of either the future of Radiohead or closing of their chapter of live performance.

The show started with ‘2 + 2 = 5’, an incredibly strong choice to start this performance. Immediately there was this tone shift from the chatter of the O2 Arena to the jittery and tense sound of a song which references George Orwell’s ‘1984’ and was created during the tumultuous political climate of the early 2000s. This song not only begins relatively unstably but reaches a crescendo before ending suddenly and without warning. As a result, this is arguably one of the better opening songs, the quieter beginning followed by an explosive ending sets the tone for a spectacular concert. Both ‘Jigsaw Falling into Place’ and ‘All I Need’ not long followed which were unsurprisingly fan favourites and neither of which featured on every show’s setlist. Both ‘In Rainbows’ and ‘OK Computer’ were the most featured albums during this show, both with six songs each. This is potentially the result of ‘In Rainbows’ being both flexible in terms of performance as well as providing feeling before thought and ‘OK Computer’ featuring clearer statements about life; in tandem these albums initially diagnose a problem and then present the feeling. These albums don’t just appear regularly but also alternate specifically with a very deliberate arc.

The same can be said for the fewer frequency of the other featured albums which feature as pressure points: ‘Hail to the Thief’ is an album of political recognition and features no songs in the Encore, whilst ‘Kid A’ is used both sparingly and decisively with its representation of psychological fragmentation. It is an album which is almost disruptive and destabilising rather than comforting. ‘A Moon Shaped Pool’ is used sparsely for arguably different reasons; it is emotionally heavy and intimate with themes of grief, separation and emotional aftermath of crisis. Ultimately, the specific decisions of the setlist is a testament to the emotive nature of Radiohead’s music and their careful calculation. The show ended with ‘Everything in Its Right Place’ which finished the performance perfectly, tying up loose ends and allowing for a seamless descent into appreciation, reflection and enjoyment.

This was easily my favourite of the concerts that I have been to. Every detail was so well executed and planned which made this experience perfect. The venue worked impeccably and our standing positions were also faultless, though at only 5 ‘2 at any concert is going to have its downsides!

Words By Scarlett Sheehan