At one extreme end of the spectrum, we’ve seen the nightmarish rise of Bastille, who are to radio-friendly indie pop what Donald Trump is to the Republican Party - the hideous end product of all their worst indulgences, all the Live Lounges and the acoustic YouTube covers, back home to roost at last in the most garish fashion imaginable. In the four years that have passed since Beacon, the game for bands at Two Door’s level has changed, for better and for worse. The interesting ideas didn’t really begin to spring up until Beacon arrived a couple of years later - a little bit disco here, a little bit dance-pop there - but by that point you already suspect that their fanbase, cultivated primarily through the omnipresence of the likes of ‘I Can Talk’ and ‘What You Know’ as advertising jingles (more on that later, too) had already decided what they wanted from this band and it wasn’t depth, just a clutch of guitar lines you could boorishly sing along to. Practically everything feels interchangeable.
There’s chirpy guitars, and there’s passable pop melodies. There must, I reasoned, have been something about their 2010 debut, Tourist History, that I’d forgotten about, some obvious catalyst for their propulsion to festival main stage ubiquity and platinum sales figures. They’re unquestionably one of Britain’s biggest guitar bands, having been poised to headline Latitude Festival back in 2013 before ill health intervened (more on that later) and selling out two nights at Alexandra Palace next February in double-quick time, despite a lengthy period on the sidelines. It seemed prudent to dip back into the last couple of Two Door Cinema Club records before delving into the new one.
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