Di and Maria caught up with Felix White, guitarist with The Maccabees before the show. Listen here to find out a bit more about the band, and where they are headed next...  We caught them during the concert sound check; that's Tom Smith's voice in the background at the end of the interview.

When I think of the Maccabees I feel a little rush of affection.  Whether it’s because they made Brighton their sometime home, or because they remind of my little brother in his younger years, I don’t know.  Musically they definitely have something, and, supporting Editors, they were one of the most well received support acts I’ve seen in a very long time.

The Maccabees released their 2nd album earlier this year, although rather unfairly they have remained relatively unknown here. It was an energetic and mostly tight performance.  Orlando Weeks' distinctive vocals wooed the audience, and he rather charmingly had learned a German sentence or two to address the crowd.  They’ve obviously attracted some attention from the young female demographic which can only be pleasing to a group of five lads, and it may be of further interest to them, that a number of these fans melted away from the front of the venue after their departure from the stage. Their support is seemingly monogamous.

They played a set of 8 songs which seemed short, but it is by no means a bad thing to leave your audience wanting more.  If The Maccabees return to the area in 2010 with their own headline tour I have no doubt they will welcomed with open arms (maybe even a Wall of Arms).

Before the concert, Di and Maria had a chance to catch up with Ed Lay and Chris Urbanowicz. Listen here to learn of the sacrifices they make for art (what, no skiing? in Switzerland? Isn't that akin to being taken to a candy store and told you can't have any of whats on offer?),  the value of a practical education, and what the future holds for Editors.  Click here for a google-streetview treasure hunt of across London of songs from their new album In this Light and on this Evening.

One has to wonder exactly just how many Weetabix Editors front man Tom Smith has for breakfast.  If you want to see a man who puts his all into his performance then this is the show for you:  expressive, visual and energetic.  I have to admire the courage it must take him to allow himself to be possessed by the music and lyrics, and show the audience how much it means.

Editors pretty much had me hooked after seeing them live a couple of years ago in Zürich.  I’m a big believer in the chemistry of a live performance, of course you can listen to the CD, but experiencing a live performance will tell you how you really feel about an artist. After realising I was rather embarrassingly out of the loop with respect to this critically acclaimed British band, I went to see them live before knowing any of their music, and the attraction was instantaneous.

Luckily I’m not alone in this assertion.  The last time I saw Editors I had the distinct impression the audience was slightly ex-pat heavy.  This time around they had enticed a predominantly Swiss audience into X-tra, whether this has been due to the appeal of the increased synth sound of the latest album, or maybe a lot of catching up has been going on, nevertheless the message has reached Zürich loud and clear.

There was a younger and more energetic element amongst the audience which was both refreshing and scary (well the latter for this reviewer anyway, prompted by envy no doubt).  If Swiss audiences have been thought to be a little staid in the past, then the younger generation are completely over that. From the opener, the title track from the new album In This Light and On This Evening, through to the last encore, Fingers in the Factories, the people around me danced, clapped and sang with intense enthusiasm.

Editors played a 20 song set featuring almost their entire new album and the best of the rest, Papillion provoking the most aerobic response from the audience.  The stage lighting and visuals were kept simple, but a band like this requires little enhancing as they provide all the entertainment required, and frankly I didn’t want to be distracted from the performances of the band members.  As one might expect, Tom’s sonorous baritone is more affecting live than on recorded material, he has grown further into the role as frontman, and compared with my last experience, looked more comfortable, and certainly more expressive as he roamed about the stage.  Chris switched smoothly between instruments and there were some great moments of Chris and Tom playing on opposite sides of a bank of keyboards.

It is a sad fact that drummers are often tucked away at the back of the stage, so it was hard to spot Ed behind his enhanced drum kit, but Russell was there at the front encouraging a willing audience to clap, and moved with energy around the stage.

This concert stands out among the many great musical experiences I've had this year.   You would be mistaken to pass up the opportunity to attend a performance the next time Editors are in the area - and do go see them while they are playing smaller venues, while you can.  X-tra, for instance, is probably the best venue in Zürich; it’s an ideal size with good acoustics. Neither of us is looking forward to the inevitable day when we will have to see Editors in the much larger and less intimate Hallenstadion.

Lastly, we'd like to make a plea to other reviewers to desist in making lazy analogies regarding this band.  Why should Editors suffer persistent comparison,  when their talent clearly shines?   Editors have taken a progressive change in direction with In This Light and On This Evening, there is no imitation. Further, if Chris’s comments in our interview with him are anything to go by, music will progress because there are musicians who get easily bored with repetition and feel the need to move forwards, all to the benefit of the music listening public.

I have many fond memories of Depeche Mode concerts.  Depeche Mode introduced me to live music as they were the first act I saw live, in a half full Wembley Arena at the age of 15.  That was probably the last time they played in such an undersold venue, the release of Violator ensured that.  Depeche Mode are under-appreciated in the UK, but it matters not, as the fans in the rest of Europe and the States more than make up for it.

After the release of the fabulous Playing the Angel, in the summer of 2006 I dragged Maria along to see them play at the Moon and the Stars festival in Locarno.  I was determined we would be as close to the front as possible, and so we were there in plenty of time and our efforts were repaid as we had only a couple of people between us and the stage.  My hope was that Maria would feel the chemistry in the same way I felt it. Unfortunately Maria missed the concert... Nonetheless, as an avid listener, I can say the following:

Depeche Mode are known for making a big effort with the visuals at their performances and it is appreciated.  They play in big venues, and unless you are near the front the extra screens and images are an excellent addition to the concert experience. Dave Gahan is an excellent frontman, and the crowd always responds well.  Every Depeche Mode concert I have attended has had an amazing atmosphere, a big friendly receptive crowd of people who sing with huge enthusiasm to every song. 

Sounds of the Universe is the 12^th Depeche Mode album.  The key to any band’s longevity is to continue to experiment and progress.  Depeche Mode must be doing something right to continue gaining fans and popularity as the band’s members approach their 30^th year together.  The most recent addition to their discography was generally well received, and sees the first song written by Dave Gahan and Martin Gore together.