Ladytron

Review: For god's sake, Ladytron. You've come across the planet at the request of no less a personage than Mr Brian Fucking Eno, to play at the Sydney Opera House – one of the most spectacular venues on the planet – would it kill you to maybe, I don't know, give a shit? I know your personae are chilly, I know that you're not exactly going to be exhorting Sydney to party down and go crazy, but the odd smile or sign of enthusiasm might be kinda nice.

After Pivot gave a spirited set that seemed to be about to descend into chaos at any moment – see, electronic-based performance needn't be unemotional – the 'Tron took the stage as per usual: Daniel Hunt and Reuben Wu in the shadows out the back, Helen Marnie and Mira Aroyo up front, and everyone behind banks of synths, with their touring drummer and bassist at the back of the stage. Much like, in other words,  the set-up at the Metro show last year. And then as the set began with 'True Mathematics', 'Runaway', 'Ghosts', 'High Rise' and 'I'm Not Scared' it became clear that they were actually playing exactly the same set too, and with just as much verve in their performance. Oh, sorry: instead of everyone being dressed head to toe in black, everyone except Helen was dressed head to toe in black. In an adventurous break with the Ladytron of old, Ms Marnie was wearing a patterned frock and has dyed her hair blonde. Not sure if that qualifies as ramping things up, but it was the largest concession to any sort of stagecraft beyond the (admittedly superb) lightshow.

Look, the songs are great, people even started being permitted to dance from 'Fighting in Built Up Areas' onwards and I could listen to 'Destroy Everything You Touch' every day until the end of my life and not get sick of it – but it's been a good long while since I've seen a more limp and lifeless performance. Andrew P Street

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