On the third of December, the third date on the European tour and second date on English soil, Julian Plenti hit the European capital of cool, Londontown. After playing last at the Scala a little more than four years ago with his main musical effort Interpol (QRO album review), Plenti (i.e., Paul Banks) returns to showcase his solo project.
However, it is so much more that just Plenti. His backing band, that have deservedly had a well received introduction, made up of a cellist, drummer, bassist but most notably Damian Paris (of The Giraffes) on guitar, who looked like he’s probably O.D.’ed a little on the Prozac. Entertaining to watch and as tight as ever, honestly, you wouldn’t know that Julian Plenti was labeled a solo effort. This was appreciated greatly by the crowd, who celebrated the band with loud cheers when Plenti took the time to introduce these four individuals who sported their distinct rock ‘n’ roll style, who were as entertaining (if not more) to watch than JP himself.
The set list itself did not differ from previous dates. With Interpol, this is a typical thing to do – however, given the limited amount of Plenti material, this was more understandable. With the usual Pixies (QRO live review) and America covers, Plenti dedicated America’s "A Horse With No Name" to his mother who was up 
in the balcony, it was clear that the tightness was not just between Julian and his band, but that this was a family affair.
The live arrangements for the show were again outstanding. Talking to the cellist post-show, who also performed on …Is Skyscraper (QRO review), he described how he tried to capture a classical element whilst performing by sculpting the arrangements to the music, including the use of additional effect pedals to the classical instrument. It is clear to say that the show would be incomplete without the addition of a cellist, and although it is a shame that unlike the first-ever Julian Plenti show (QRO review) at Guggenheim Museum (QRO venue review) in New York, there were not additional strings, as it would have greatly added to the atmosphere. But even so, the layered effect did not fail to stun as always.
With the romanticized ambience, it was the slower tracks that were by far the most outstanding. "Girl on the Sporting News", "Madrid Song" and "On the Esplanade" shone through, with the 
musical arrangements highlighting the complex but well placed interplay between musicians. However, the faster tracks were too well received, with the unrecorded track "Goodbye Toronto" going down a treat, alongside Pixies cover "Into the White" (QRO video of the Pixies playing it), much to the delight of many Plenti/Pixies fans.
One moment towards the end of the performance made the show a little more strange than usual. At the beginning of "H", during the encore, two drunken men, attempting (failing) to look like Noel Fielding and Julian Barratt of Mighty Boosh fame (QRO photos – it took a minute to work that out, as one strangely looked like a woman, but who knows?!) invaded the stage, giving sex symbol JP a kiss on the cheek, and first slobbering him on the mouth. Security was lax (and possibly many were wondering why they didn’t try it on earlier), and it took for their tour manager to escort the men off the stage. Plenti looked more than a little perturbed, and rightly so.
From then on, everything seemed all but a bit surreal. Perhaps 
it was the mind-boggling homoerotic sloppy kisses, perhaps it was the crazy guitarist Paris, but as many would like to think that night, it was maybe because the show was simply so damn good. Consistently beautiful, composed and collected, yet keeping that old rock ‘n’ roll style rolling, Julian Plenti and his minions are worth catching.
Set list
Mythsizer
Fly As You Might
No Chance Survival
Fun That We Have
Girl On the Sporting News
Madrid Song
Unwind
Into the White
On the Esplanade
Only If You Run
Skyscraper
Let It Snow / Goodbye Toronto
—-
H
Horse With No Name
Games For Days
