Christopher Nosnibor
Yes, they’re still going. Despite not having released any new material since 1993, they’ve continued to tour frequently over the last thirty years, and have during that time showcased about two albums’ worth of new songs. And while performances of said new songs are all over YouTube, it’s no substitute for a live performance witnessed in person, which goes some way to explain why this, the first of two nights at the Roundhouse, is sold out. Another key reason of course is that people love this band with a rare devotion. I am here as one of those people, rather than in a press capability.
The support act, Oversize, deliver 90s-style alt-rock with grunge and shoegaze elements. I’d have probably dug them if it was 1992-3. Or perhaps not: there’s too much “How are you doing?” and “Let’s see those heads banging” calls between songs, in addition to the obligatory merch plugs. The longhaired bassist stomps about and flings his hair around, while the lead guitarist, who’s waring a Type O Negative T-shirt, does melodic backing vocals and also some metalcore screamy bits which don’t really gel within the overall sound. Still, they were well-received and did the job of warming the crowd up.
The Sisters’ set list on the current tour may not be radically different from those of the last couple of years, and as we will come to learn to no surprise whatsoever, identical to every night on this tour, but it’s certainly quite a different crowd they’ve drawn compared to the last few times I’ve seen them (either side of the pandemic, the last time being in this same venue in September 2021 on their three-night run belatedly marking their fortieth anniversary, and before that in Leeds in 2020). Dare I say it… younger. There are a lot of makeup goths out tonight, people born after the turn of the millennium dressing in the 2025 reimagining of 1985. Or something. No doubt many of the older fans – the ones who were there in 1985 who like to moan endlessly about how The Sisters have been shit since Wayne Hussey left will say that they missed out and are only seeing a karaoke tribute or similar now, but that they’re all here more than validates the case that The Sisters are still a going concern, and that there are plenty of more recent concerts who are keen to hear the unreleased material live alongside back-catalogue hits and classics. It’s certainly a livelier crowd than I’ve witnessed in these later years (although the less said about the tall woman dressed like a member of Bananarama who was swinging about and busting moves in the second row near me the better – I’ll simply leave it that there’s lively and there’s being an attention-seeking dickhead).
‘Alice’ is dispatched early on in a set which largely ignores their pre-Floodland releases, with ‘Marian’ being the sole representation of First and Last and Always (in contrast, there’s a lot of Vision Thing). It’s almost as if Andrew is stubbornly ignoring the forty year anniversary of the band’s debut album to wind up the ‘golden age’ complainers, and you wouldn’t put it past him.
The band – and that extends to Chris Catalyst, former guitarist and now nurse to the Doktor – look to be enjoying themselves. Eldritch’s vocals sound rather more warmed up and he relaxes into the show more with the arrival of ‘Summer’, and the newer songs – in particular ‘I Will Call You’, ‘Here’ and ‘On the Beach’ – sound particularly strong. Yes, his voice is still a scratchy, crackling croak for the most part, but he’s much more audible and there some of the deeper notes come through. Eldritch seems to revel particularly keenly in giving it some on ‘More’: ‘I don’t know why you gotta be so undemanding’ he growls, before snarling a full-throated ‘I what MORE!’ and the bombastic backing vocals power in. Credit to Chris and Kai for their contributions on that score and the pair do work well together, bringing movement and energy to the stage, the former with classic rock poses, the latter twirling and pirouetting about with abandon, and Kai’s switching between electric, acoustic, and twelve-string guitars adds texture to the sound.
On the subject of the sound, for many years, Sisters gigs have been on the quiet side, with the drums reduced to a clattering in the background rather than the relentless boom that was always integral to the band’s signature sound. Tonight, the volume and mix are both substantially stronger, with a denser sound overall, even the sequenced bass sounding more powerful and resonant. And this, this is what we came for: because when The Sisters are good, they’re GOOD.
Eldritch remains on stage after the band depart at the end of ‘Temple of Love’, performed in the 1992 style, with Kai doing the Ofra Haza parts. They do a decent job, too, although I find myself on the fence with it, not least of all because I wasn’t rabid about the later version in the first place. But, as with the more backing-track-based version of ‘This Corrosion’, a lot of people in my vicinity seemed to be absolutely over the moon to be hearing the hits in a recognisable form, and it’s quite possible that this is what the newer fans want to hear over, say, ‘Heartland’ or deep cuts from The Reptile House EP. You can’t please all of the people all of the time, but tonight, the Sisters seem to be pleasing enough of the crowd as well as themselves.
“I take requests,” he jokes, before muttering the punchline and leaving the stage.
On returning, Ben takes up a bass guitar (something rarely seen onstage at a Sisters gig since the 90s, particularly since ‘Romeo Down’ was dropped from the set) and leads a hefty version of ‘Neverland’. It seems the song suits Eldritch’s current vocal range, and Andrew’s vocals sound the best yet, and remain strong for both ‘Lucretia’ and ‘This Corrosion’ which cap off a solid set. Overhearing exchanges on the way out, there seemed to be an overall positive consensus, and with this, I would have to concur.
Aural Aggravation 