— Ben Richichi contributed with this article
After losing their UK arena virginity earlier in the year, it seems Paramore couldn’t stay away and returned with another huge tour..
Reeling off the success of their latest album, “Brand New Eyes’, as well as massive performances at Reading and Leeds festival, it was no surprise that their ever increasing popularity brought in a massive and diverse crowd.
Everyone from metallers to indie fans turned up in their numbers at the Trent FM Arena.
The bill was just as diverse, starting with New York Indie power-poppers, fun..
With the crowd feeling a little restless after waiting out in the cold, it was a daunting task for fun. to open the show to an audience who were largely unaware of them.
Front man, Nate Ruess, gave a valiant and enthusiastic performance to try and get the crowd going but his pleas fell on deaf ears at first.
Eventually the audience turned in their favour, jumping and dancing around to reward fun.’s persistence, with Reuss even getting them singing along to their latest single “At Least I’m Not As Sad (As I Used To Be)”.
Up next in the mixed genre concert was alternative hip-hopper B.o.B, who, unlike fun., got the crowd pumped from the start.
It almost felt like B.o.B was the main attraction of the night, with a full band, backing vocalists and stage dancers accompanying him.
It didn’t so much feel like a solo artist set but a whole band effort and the crowd appreciated Bobby Ray for it; they were at a rock gig after all.
Following hits such as “Nothin’ On You” and “Magic”, as well as Ray breaking the mic during a rapping frenzy, B.o.B finished with his own version of MGMT’s “Kids” which sent the arena crazy with chants and sing-alongs.
Of course, the set wasn’t really over.
After the lights dimmed, the opening melody of “Airplanes” began, receiving the biggest cheer of the night as Paramore front woman, Hayley Williams, took to the stage to cameo in the song.
You’d have thought that after Williams had already been on stage that Paramore’s entrance would have been a bit of an anti-climax – you’d have been wrong.
As the curtain dropped and “Ignorance” began, the crowd shifted up a gear, people eagerly pushed their way to the front with everyone feeling the effect, even causing some to leave the now compacted front.
Hayley Williams was just as energetic and charismatic as always; “how many of you guys saw us at Reading and Leeds?” she asked.
“Yeah, that was all right. But tonight is our show. You belong to us and we belong to you!”.
These words rang true throughout the rest of the night as Paramore gave out a real sense of connection with the audience.
Halfway through the set, the stage was transformed into the front room a house. Somehow, Paramore had turned an arena event into an intimate musical gathering, with the band sitting and chilling on the sofa with their acoustic instruments.
It started with Paramore’s interpretation of western classic “You Ain’t Woman Enough To Take My Man” by Loretta Lyn and included many of their own acoustic songs such as “The Only Exception” and “Misguided Ghosts”.
This unplugged session managed to retain the sense of a huge gig while still seeming very personal. There wasn’t a single person in the arena who didn’t at one point felt that they were the only one there.
After settling down with the slow acoustic set, Paramore had no difficulty getting everyone back on their feet for older songs like “Emergency” and “Pressure”, showing that not everyone was a new fan of the band.
At the end, the crowd waited for the inevitable encore, all knowing that there was only one song they wanted to hear.
“I think we have some unfinished business we need to take care of,” exclaimed Hayley to an elated audience.
The band finished with “Misery Business” with two members of the crowd taking the role of guitarist and vocalist for the finale which exploded in a flurry of fireworks and confetti.
This may have been one of Paramore’s first arena gigs in their seven year presence, but on Monday, they felt like veterans.Tweet