Cage the Elephant deliver an effortlessly charismatic set at Wolverhampton’s The Halls

University of Wolverhampton at The Halls, February 16 2025

Bringing their tour to the UK after six years, Cage the Elephant’s live performance at The Halls exposes just how flat their recorded songs feel in comparison. The Grammy Award-winning rock band kicked off their Neon Pill tour in the U.S. and are now making their way across Europe, joined by Girl Tones and Sunflower Bean.

Girl Tones open the evening with a powerful performance, any nerves overtaken by the explosive vibrations through the venue. Combined with the never-ending flashes of lights, it is akin to a night at Toolbox. The Kentucky-based sisters receive supportive applause after each song, though there is difficulty in grasping each word. Passionate and spirited, there is still room for them to polish their act.

Julia Cumming, Sunflower Bean’s frontwoman and bassist, seen in her fabulous boots, attempts to get the crowd excited between songs and technical difficulties. They push through, and the band’s chemistry is undeniable, making for a more solid performance than Girl Tones, featuring Nick Kivlen’s expressive guitar solos. Sunflower Bean loosens up the audience without realising it.

Filled with people of mixed ages, Cage the Elephant have no issues engaging with the crowd throughout their performance

Although the opening acts may cast a doubtful atmosphere for the hopes of an energetic crowd – perhaps reflecting a disconnect between the American artists and the Wolverhampton audience, this quickly fades as Cage the Elephant run onto the stage. Matt Shultz, the band’s enigmatic frontman, immediately commands the audience. A drink flies through the air, spraying and drenching what looks like a whole pint across the middle of the crowd, and the energy shifts: the audience is ready.

Filled with people of mixed ages, Cage the Elephant have no issues engaging with the crowd throughout their performance. Eccentric movements taking up the whole stage, Shultz makes eye contact that feels personal, though that might just be from obscuring the view with stylish sunglasses. The microphone stand becomes a prop as he dances with it on stage, swinging and attacking it emphatically. Dressed in all black with black-tinted glasses, guitarist Brad Shultz feeds off his brother’s energy and plays into this character, hyping up the audience with every move.

Even with parts of a shy crowd, everyone moves – whether that’s swaying to the beat, headbanging or jumping on top of each other. As the band plays ‘Mess Around’, Matt Shultz makes sure all eyes are on him and Nick Bockrath, the audience fully immersed in the intimate interaction between guitar and vocals.

As an old fan, obsessed with ‘Cigarette Daydreams’ as a teen, I was surprised to sing along to more songs than anticipated

The setlist balances older hits with tracks from their new album, Neon Pill, offering moments of unrestrained excitement like in ‘Spiderhead’, as well as opportunities to sway their arms and torches in ‘Rainbow’ and then ‘Telescope’. As an old fan, obsessed with ‘Cigarette Daydreams’ as a teen, I was surprised to sing along to more songs than anticipated. While their studio recordings risk sounding repetitive at present, their live presence was far from it. Each performance is engaging and unique, enough to get you back into missed songs and new hits.

With a guitar broken and a microphone flung high into the air, only to crash onto the ground, Cage the Elephant storm off the stage after ‘Sabertooth Tiger.’ Setting up during the encore takes just a little too long, briefly cooling the atmosphere. However, this dissipates as soon as they start to play again.

[Cage the Elephant] delivered an effortlessly charismatic performance for any indie rock fan

While there are moments of waiting at any concert, Cage the Elephant respect their audience’s time, ensuring the night flows well. Matt Shultz speaks to the audience only a few times throughout the night. Even so, it is sincere: a brief but genuine acknowledgement of their UK fans and the significance of playing for them.

Saving two of their most popular songs, ‘Cigarette Daydreams’ and ‘Come a Little Closer’, to the end, Cage the Elephant successfully fill the room with nostalgia, and everyone begins to sing. While these songs may not carry the full force of the studio recordings, this does not matter to the crowd.

Cage the Elephant’s songs demand the rawness of a live set. Despite any technical difficulties, they delivered an effortlessly charismatic performance for any indie rock fan.

★★★★