Paramore keep the Misery Business booming

Paramore: Monster noise served with a glass heart.©Lindsey Byrnes

Peter, Bjorn and John and their Summer whistle along anthem didn't care about 'the young folks', but the feeling would have been mutual, had they stumbled upon Edinburgh's Corn Exchange last night. All 'the young folks' wanted was teen angst via Tennessee, in the shape of the much-worshipped Paramore.

Starting with a punchy intro from the drum-riser, now a touring hire for the band after the departure of Zac Farro in 2010, it was going to take the real deal to get this picky crowd impressed. A few off-stage notes from Paramore princess, Hayley Williams, dissolved the crowd into mass girlish squeals- just when there wasn't a large fringe in sight, and I didn't think there was any chance of me using that well-associated e word. I was instantly very wrong!

As Williams, revealed herself on stage to the slick heart-clutching power-pop of Brick By Boring Brick, things certainly seemed to get very emotional for much of the crowd. Personally, I managed to remain unscathed.

Playing as a six-piece on their long-awaited Scottish return, the three remaining members of Paramore were joined by some hired-help, with the departure of the Farro brothers unnoticed in sculpting the ferocious power station of guitars and beats, which bludgeoned ear drums into undivided attention. With touring members taking to the back of the stage, this only allowed more room for Williams to conduct her high school sing along, thrashing around the stage, an orange-topped whirlwind, climbing amps and walls when the feeling took her. With Jeremy Davis and Taylor York following suit, it was easy to see the band were relieved to be unleashed from the recording of their fourth album.

Sending Twihards just a fur coat away from werewolf conversion, Decode kept the ride emotional, the slower paced tempo pausing the dancing for dramatic sways, and allowing Williams to switch from frequent bratty screeches, to a soaring vocal, that many pop divas would give up their tour entourage (and probably Nandos card) for.

That's What You Get launched the crowd back to full song for the boisterous track, another voyage to hyperactive, before being dropped into acoustic territory- it's no wonder they call this emo. Released as part of the band's Singles Club last year, In The Mourning, could easily have been a rework of Bright Eyes from the I'm Wide Awake, It's Morning era. The stripped back track displayed Williams at her best, a rarely seen sweet element to the vocal and with a Tennessee lilt, as she exercised her impressive range. With frequent reports viewing the band as a solo project gaining criticism, the set was certainly highly focussed on their frontwoman.

Keeping the temper tantrums at bay The Only Exception had fragile hearts swaying with phone lights replacing lighters ( either a sign of the times or the age group), a rare moment of love rather than self-loathing.

Preferring their beastlier tracks in the live setting, the brief pause tumbled back into turmoil for Ignorance and Monster. Carrying anthemic chorus melodies with no struggle across the well-built body of distorted guitars and bass-heavy drums, Paramore had the crowd bounding with outreached arms to the finish line.

They didn't reveal much of what's to come in their album release later this year, but Paramore certainly pleased a heavy-hearted crowd last night.