Kasabian, Shepherds Bush Empire, review: Glastonbury headliners return to electro-rock

Kasabian's festival-ready sound threatens to bring down the balconies

Tom Meighan of Kasabian (PA)

Music-friendly charity War Child should be quids in after this pulverising benefit gig – as long as the venue suffers no structural damage. Kasabian's festival-ready sound threatens to bring down the balconies and inspires punk-style moshing.

These lairy, loyal fans have ensured the Leicester foursome's fifth album 48:13 is their fourth chart topper. Ahead of a 10th anniversary outdoor homecoming show and headlining Glastonbury, Kasabian have returned to their electro-rock beginnings, though much impact still depends on pomp and bluster.

While band leader Sergio Pizzorno's kitchen-sink aesthetic, mixing synths and strings, fails to leaven the turgid ' Where Did All The Love Go?', new material's pared-back punch fizzes with energy.

The dippy playground chant of 'Eez-eh' slots in well beside the sturdy bounce of old faithful 'Processed Beats', though the current album's highlights are the urgent, crunching 'Stevie' - a galloping string section adds drama - and the disco abandon of 'Treat', despite its clumsy refrain “Work it like a treat”.

At their best, Kasabian are a football-terrace Primal Scream, though too often remain wedded to Oasis's late-period flab-rock. Though as livewire singer Tom Meighan dedicates Fatboy Slim's 'Praise You' to his much-loved bandmate, its fraternal affection that keeps them going.

Read more: Serge Pizzorno says British rock needs a 'kick up the arse'