The day before this, AFI had played All Points East in London alongside Deftones, IDLES and Amyl And The Sniffers. You can bet your life they fitted in, because if AFI don’t sit comfortably anywhere, then they fit everywhere. That has always been the point.
They’ve been doing it for more than 30 years, building a devoted following despite touring the UK far less often than they would like. Birmingham has been waiting a long time for this.
“Strength Through Wounding” declares that we are one, and the crowd suggests that’s true. Indeed, it might as well have had a warning: “Birmingham, be ready,” because “Girl’s Not Grey” duly causes an eruption.
“Love Like Winter” is huge and anthemic, driven by the energy of Davey Havok, before “Holy Visions” brings something darker. Almost hypnotic, built around an electronic pulse, it sounds a little like HIM gone punk.
Havok tells us that he is struggling with his voice, but what he lacks vocally he compensates for with performance and presence. Besides, the crowd is willing to sing every word for him.
“Ever And A Day” slows things down, but only so it can crush, and there is barely a person here who doesn’t know it. The drums and riffs anchor “End Transmission”, yet it is the communal chorus that gives the song its power.
The newer “Behind The Clock” fits easily alongside the older material, while “17 Crimes” would induce an enormous mosh pit if anyone had enough room to move. Jade Puget shreds the solo and looks as though he is enjoying every second.
“Bleed Black” is big and swaggering, yet remains dark and unsettling. “Beautiful Thieves” is a fan favourite even among a set filled with them, and it is suitably, brilliantly weird.
“The Boy Who Destroyed The World” has a similar swagger, while “Nooneunderground” provides a short, sharp kick to the bollocks. “Endlessly, She Said” is straight from the emo era, but this is a band that has never needed to apologise for any part of its history.
The acoustics come out for “Blasphemy & Excess”, yet somehow it sounds enormous. “Silver And Cold” belongs in an arena, the sort of song that should have outgrown rooms like this years ago.
By the encore, Havok is barely needed. The crowd carries “The Days Of The Phoenix” before “Miss Murder” finishes the job.
It has been almost a decade since AFI toured the UK, and it shows. Next to me are people who weren’t old enough to attend gigs the last time they came; in front are others who have probably been there since the debut album arrived in 1995.
That breadth of generations shows the devotion AFI inspire. Even with Havok admitting he isn’t at full strength, a show like this proves that, with AFI, the fire still burns deep inside and their rare UK appearances always see them excel.
