Sorry @ Sneaky Pete's, Edinburgh, 9 Feb

Sorry might nail the execution of their grumpy dream-like pop, but tonight's showcase of lo-fi synths and relaxed beats seems to lack something along the way

Live Review by Erin May Kelly | 13 Feb 2020
  • Sorry

The instantly recognisable and earnest piano which opens Gary Jules’ rendition of Mad World echoes around Sneaky Pete's as Sorry push through the venue’s fire escape and onto the stage. Gloom is the operative sentiment it seems immediately, as they launch into their first sombre track; dancing around Right Round the Clock with the ease and fluency of a band who could have been practicing in the intimacy of someone’s bedroom.

With the melancholy of Asha Lorenz's vocals, dripping with sarcasm as she croons 'You’re the best I’ve ever had', the room seems to shrink as we’re all drawn into the siren of her voice, its softness disjointed from the rest of the track's grit. Throughout the set, the reverberation of her slick articulations have an almost haunting element to them.

Aside from one solo dedicated raver, tonight's crowd remains relatively unstirred, pints safely contained in their plastic vessels. At most, a gentle sway is roused from what is a fairly docile audience. This largely mirrors the lack of action emanating from the stage itself – the stamping of pedals being the most remarkable amount of movement taking place. Sorry might nail the execution of grumpy dream-like pop, but the showcase of lo-fi synths and relaxed beats seems to lack something along the way.

Starstruck, arguably one of their most popular tracks, is delivered with a sense of apathy. Perhaps it's part of their brand, but Sorry seem to miss the mark. Even as the last flicker of strobe announces their departure from the stage, their subdued exit seems in line with the mood throughout the night.