Even before they could be described as a stadium act, Jungle has managed to carve out a niche in the arena circuit, the very stages they are treading this year to unveil their new album, the well-regarded Sunshine. Their blend of retro disco, soul, funk, and catchy choruses has won over millions. All of their records have broken into the UK top 5 or top 10, and tracks such as ‘Back On 74’, ‘Busy Earnin’, ‘Casio’ or ‘Keep Moving’ have gradually built a solid, recognizable catalog with an ever-growing audience.
The disco temple of Jungle opened its doors on what was, shall we say, a rather tricky Wednesday, October 28, at the Palau Sant Jordi in Barcelona, after a stop in Madrid. Like many other Palau shows, not all tickets sell out, but there is more than enough audience to turn the night into a collective celebration of music and dance, with the musicians foregrounded more prominently than one might expect.
Joshua Lloyd-Watson recently told JENESAISPOP that he worried the dancers’ prominence in their videos might dilute the identity of the musicians behind Jungle. At the Palau, that isn’t the case. Joshua and Tom McFarland are two charismatic figures, while Lydia Kitto, the vocalist and Josh’s partner in Loaded Honey, acts as the cool frontperson. The three, along with their band, present themselves before an impeccably elegant stage production, like a cosmic portal of geometric shapes changing color, from blue to red, with Jungle’s logo crowning the stage. They make music to sweat to while dancing without losing their class.
There’s no need for the dancers to whirl around with them, given the logistical hassle that would entail, in case anyone expected such a thing. In Barcelona, a dancer who was among the crowd ended up dancing on stage with one of the backing vocalists, in a moment so unexpected it felt improvised. The effect was magical, almost like watching a movie performed live.
The band crosses that threshold with ‘Time’ and ‘Drops’, a hypnotic track that unfolds into a final jam and that, although unknown to me until today, instantly becomes one of my favorites. Probably it’s the most peculiar and dark groove of the night. By then ‘Back On 74’ has already sounded, and as its little bells begin to ring, the crowd goes wild. The connection between the band and the floor is total, though one person interrupts it briefly by weaving through the audience right at one of the song’s peak moments. Keep moving, keep moving, as they say.
There is little point in dwelling on specific songs, and I know not every Jungle fan can distinguish one from another. Many performances follow a similar pattern: danceable grooves, retro vocals, funky guitars, and layered production, with occasional rap. On the screen appears a giant image of Channel Tres to accompany their segment of ‘I’ve Been In Love’. Jungle aren’t Chic, though they bear a strong resemblance and share with them a cultivated sense of taste.
The interesting thing is the experience, and above all, the act of living it. Jungle wield their signature sound with astonishing confidence, though the curious thing is that they already seemed to have had it figured out since their debut. As if the early steps of Josh and Tom in that now almost-forgotten indie band were enough to discover the sound they have been perfecting ever since.
At the end of the show, when the group has left the stage and the lights are still on, the audience keeps dancing as ‘Move on Up’ blares from the speakers. The groove has stuck to the body. Suddenly, the Palau feels like an improvised Soul Train, and it’s clear that Jungle’s music travels far. Let’s hope their light reaches also those who will no longer have the chance to see the sun.
