When Bloc Party announced their long awaited headline tour of Australia to promote their third album Intimacy I was keen to attend. I wanted to confirm that Dan Le Sac Vs Scroobius Pip’s claim in their hit song Thou Shalt Always Kill, that Bloc Party is ‘just a band’, was nothing more than a fruitless lyric.

In what was surely one of the biggest coups of their career to date, Sydney indie-electro four piece Van She warmed up for the Brits. I was pleased to see a humbled sense of occasion from Matt Van Schie and the boys. In rewarding their own fans they worked through an energetic set that included Cat and The Eye from the debut V album and Kelly from their initial EP. It was a good selection of tracks from a good selection of support act and the crowd responded warmly.

The grassed Riverstage hill was divided down the middle separating dry and alcohol friendly areas. It may have made the crowd easy to police, but it made it frustratingly impossible to source a drink with much ease. So, I opted to avoid entirely the alcohol friendly section in favour of a prime position with those who had chosen other methods of social lubrication. The stage was decorated with simple production kit with the band deciding on a stage dominated with basic, yet creative lighting. This however, meant for little distraction while focusing on Okereke and the boys who were thread in modest outfits- clearly preferring to make statements only with their music.

Bloc Party’s opening track One Month Off from their latest album received a resounding response. The rocking and fast drumbeat underpinned the lyrics appropriate for an opening number. Halo followed which settled the crowd into a rhythm ready for Hunting For Witches from A Weekend In The City, which the crowd helped belt out. The somewhat psychedelic track Positive Tension from Silent Alarm followed, which progressed the set well. It was also a suitable point for Kele to remind anyone at the end of the track who was becoming overheated to ‘play it cool’. This was necessary when bassist Moakes assumed the xylophone for Waiting for the 7.18. In keeping with the nature of 7.18, the set remained at a slower BPM and sweeping melodies for the opening bars of Song for Clay (Disappear Here) before the chorus re-ignited the crowd’s head bobbing. It was clear at this point that they were ready for something big to follow up. Sure enough, in what sounded like a continuation from the last song the resounding drum beat and guitar riff from Banquet began; the crowd swallowed it whole with everyone jumping in time.

Signs followed and it gave Okereke his first chance to jump from the stage and engage with the loyal front rowers. The opening lyrics of Mercury were belted out acapella by Okereke which sent the crowd into a frenzy before the other three joined in supporting an outstanding version of the track. Talons and So Here We Are followed before Lissak created feedback distortion with his amp for the beginning of Like Eating Glass. This is after, mind you, the crowd had disagreed with Okereke in encouraging Lissak to cut his fringe. The Prayer finished the set proper with its bass claps echoing throughout.

A short break for the anticipated encore gave production crew a chance to set up a second kit to the left of Tong’s. When the boys returned to rapturous cheers, the multi-talented Moakes assumed the second kit for what was to be no other track than Sunday. The incredible dual drumming was a highlight of the set before The Price of Gas was unexpectedly included followed by the fast slap-bass marching track of Flux. In what was believed to be the final track of the night, the unmistakable guitar riff of Helicopter began. It bought with it a collective sigh of relief among the avid fans who’d waited to hear it. In showing their delight fans responded with massive cheers clearly overwhelmed by what they heard.

However, when the house lights failed to brighten people lingered in the hope that somehow the band was to return. Hopes were realised when after five minutes Lissak lead the boys back on stage to a very appreciative crowd. Quick bets were placed among friends on what was to be the next tracks before riffs stretching three octaves were played leading into Ares. Even if relatively unexpected, This Modern Love appeared one of the only worthy tracks left to play. Yet it was undoubtedly a suitable finish to the second and final encore.

Okereke did say ”...you’ve been the best audience so far Brisbane” and “We’ll be back sooner than you think” and even though the New York Times reported him saying that there, I couldn’t help but be drawn to his words. Although the set composition and direction was somewhat erratic, it worked well. It took the fans on an undulating yet exceptional journey through all three albums. The crowd reveled in every track and was treated to a symphony of quality British indie rock. It proved that Bloc Party certainly are not just a band.