Barrowlands, Glasgow

It is not only the deafeningly euphoric response that suggests this is Arcade Fire’s moment. With two sold out shows and an album, ‘Neon Bible,’ that missed the number 1 slot by less than 400 sales, they appear destined to make the near seamless transition from growing cult to mainstream acceptance.

It refreshingly rare to see a band so emboldened with confidence, so energised in the performance and, perhaps, so oblivious to their own shortcomings. Even so, it is an alluring performance, not least because of the mixture of instrumentation and power on display.

While anyone who does their bit to give the viola a prominent place in rock music deserves commendation, it would be a more effective ruse were the sound mix sufficiently clear to discern what exactly is going on.

Therein lies the problem that makes this a likeable rather than amazing show. For all the layers of sound, the end effect is surprisingly bereft of subtlety. The bass drum dominates, the vocals are submerged and the combined effect of the anthems (‘Keep The Car Running’, ‘Black Mirror’ and the closing ‘Wake Up’) is one of being bludgeoned into submission in a manner not evident on the albums.

Win Butler is a charismatic frontman, launching himself into the audience at one point, but his wife, Regine Chassagne, seems to encapsulate the spirit of the group – appearing all over the stage with different instruments in hand and taking lead vocals on the most interesting song, ‘Haiti’ – full of the sort of dislocated rhythms last heard on the Sugarcubes’ debut album.

If they stick to their principles and continue their present ascent, Arcade Fire may yet become the best arena rock band ever. (John Williamson)