Entering the escapist universe of Mew at O2 Shepherd’s Bush Empire in London.

Any person that has ever tried to do something remotely creative have heard that you should kill your darlings. However, I’m about to put all pride aside as I give my personal verdict of Mew’s immense gig at O2 Shepherd’s Bush Empire.

To the opening chords of In A Better Place of their latest studio album, Visuals, Jonas Bjerre takes the centre of the stage with his fellow companions of Mew. It’s an immediate contact. The soaring soundscape fills the lofty venue with visual ideas and dazzling dreams, all firmly grounded in the palpable percussion.

Though Visuals permeates the set, Mew give space for beloved tracks from their extensive catalogue. The monumental Special‘s staggering bass-work and intrusive hooks bear witness of Mew’s varied musical past with its prog-rock allusions and distinct narrative. As always, Bjerre’s vocals protrude even the starkest of melodies, grasping that magic that makes Mew so – special.

Dipping into previous release, +-, Satellite‘s glorious and ever evolving dreamscape stands as a beacon for those spacious melodic twists that Mew grasp so cleverly. The far out reach can easily get lost in translation, however the Danes manage to avoid alienation simply by the sincere presence they have in their craft. Johan Wohlert adds a sense of physicality to the otherwise so otherworldly composition with his vigorous basslines.

The enigmatic energy that surfaces in Mew’s music, in Twist Quest the melancholy soaring in the lyrics is genially matched with a glittering enthusiastic sound. “Ain’t I painful? It’s already nightfall. Somebody was hurt. I try, I can’t do right”, Bjerre sings, scoring the sense of self-deprecation that feels so painfully relatable. There is always that inevitable amount of hope and intuition piercing through the soul-searching torment, and the juxtapose works wonders for the drive in Mew’s sound.

This might be personal sentiment, but it feels superfluous to grasp for flaws in such a master piece.

Mew are rich in stunning production, the backdrop is graced with visual illustrations and movie clips made by the frontman himself, all to fit the obscure aspects of each tune. “Thanks a lot to everyone for coming”, Wohlert states before saying that this is his son’s first Mew gig. “Is daddy doing alright?,” he asks before moving on. “We’ll discuss that when we come home. I just wanted to thank everyone. It means a lot, especially tonight.” Though a common gesture to fans, this seems heartfelt. Bearing in mind that London was Mew’s hometown of choice for a few years it seems only suiting that they deliver such live extravaganza as tonight set seems to be.

Waterslides have your heart ache and your humble narrator in tears, only to be followed by the explosive nature of Apocalypso. There is an extraordinary feel as Carry Me To Safety has you tapping into your childhood memories from an adult slightly distorted and existentialist perspective, before the set is rounded off.

The encore is a hit parade of dimensions. Am I Wry? No closely followed by grandiose 156. Mew have the unique ability to cast such farfetched melodies and yet it hits the essence of your being with an intimate sense of understanding. The vague nature of their work and the cinematic presence is not only telling a story, but displaying a canvas for the listener to project their own emotions onto.

Rounding it all off with Comforting Sounds, the hypnotizing tune embodies all that Mew are. It’s a stoic yet subtle progression, finally reaching the crescendo as the tune breaks into limitless swoons of sounds you wished would last for eternity. Mew may not be for everyone, but when you truly tap into their musical universe, it is beyond all you can imagine.

Photos: Aurora Henni Krogh