Every night, at early Arcade Fire club shows, there would be blood. âEvery show I would bleed,â says tousle-haired multiinstrumentalist Richard Reed Parry, one of the chief agitators of the Montreal collectiveâs famed onstage art riot: eight players crammed onto tiny stages, throwing themselves around in an instrument-swapping fervour, tossing drums in the air or marching out through the crowd for a kerbside encore. âThere was blood on the piano, everything was rusting from sweat and thereâd be dust from broken plaster ceiling tiles in the keyboards because weâd just break stuff. Thereâs a lot of visceral memories of being on stages that could barely contain the band.â
Before long, alternative culture would struggle to contain them too. Arcade Fireâs seminal and influential 2004 debut album Funeral â released 20 years ago this week â was a huge critical hit on release, catapulting the band to instant fame thanks to such compulsive cult favourites as âWake Upâ and âRebellion (Lies)â. David Bowie, David Byrne and U2 all paid their respects, either in walk-on music or guest performance: in Rolling Stone, Bowie hailed their âuninhibited passionâ and âkaleidoscopic, dizzy sort of rushâ.
In the intervening years, in criticsâ poll after criticsâ poll, Funeral has come to be regarded among the greatest records of the century so far, shifting the tone of the North American alt-rock of its age from the angular to the grandiose single-handed. Even 20 years on, with accusations of sexual misconduct against Butler that surfaced in 2022 having reduced the bandâs cultural standing and somewhat marred the recent 20th-anniversary fullalbum tour, the sonic and emotional power of the record remains undiminished.
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