“God Games” is a big part of the setlist and easily fits into the back catalogue. 'Love And Tenderness' is all menacing, while 'New York' brings the city's shadowy nightlife into the underbelly of London. Nevertheless, the biggest cheers of the night came from 2008's “Midnight Boom” (the gruesome prowl of “URA Fever”, the clipped clap of “Black Balloon”) and 2011's follow-up “Blood Pressures”. ” is reserved for cuts from. Prior to the latter, “Baby Says,” Mosshart takes center stage and takes a moment to soak up the cheers before launching into the track's gentle message, but “Future Starts Slow” remains a career highlight. It shows how underrated Hince is as a truly intuitive person. Instinctual guitarist.
You can understand their attempt to take their typical skeletal setup to the next level, hiring two backup singers to flesh out their recent album tracks “Kingdom Come” and oldie “DNA.” Dew. But in some ways, the extra bodies on stage feel like an imposition on the longtime duo. They're a band that always plays to their limits, and their one-on-one chemistry is established and obvious, so they don't need any extra bells and whistles.
A thorny latter set highlights “Doin' It To Death,” a song previously described as being about “staying hungry for what you were born to do.” But in the spotlight, Mosshart and Hince have clearly always been musicians in this game. Long distance. At first they were surrounded by friends, but after 20 years they now embody a primitive spirit that is rarely felt. All the more reason to hold The Kills close and enjoy the magic.