MASSED crowds, primarily dressed in black, eagerly gather at the Roundhouse for goth-rock pioneers The Sisters of Mercy and the audience’s expectation is testament to the band’s reputation, anthemic back catalogue and the rarity of their live shows.

[[{"fid":"16437","view_mode":"inlineright","fields":{"format":"inlineright","field_file_image_alt_text[und][0][value]":"Centre of attention: Andrew Eldritch Pic: Mendor","field_file_image_title_text[und][0][value]":false},"link_text":null,"type":"media","field_deltas":{"1":{"format":"inlineright","field_file_image_alt_text[und][0][value]":"Centre of attention: Andrew Eldritch Pic: Mendor","field_file_image_title_text[und][0][value]":false}},"attributes":{"alt":"Centre of attention: Andrew Eldritch Pic: Mendor","class":"media-element file-inlineright","data-delta":"1"}}]]This is the first of just two headline gigs in Britain this year and a cheer erupts as the house lights dip, dry ice envelops the stage and the  monotonous, repetitive beat of a drum machine booms starkly.

The bass kicks in, a gothy guitar trips over the top and out of the fog emerges lead singer, original surviving member and curmudgeon-in-chief Andrew Eldritch.

The band launch into More, closely followed by Ribbons and Dr Jeep, a well-received trio of tracks from the band’s Vision Thing album.

Eldritch is the focus and he’s ably supported by long-time member Ben Christo on bass, new guitarist Dylan Smith and that drum machine known as Doktor Avalanche. It’s nursed by Ravey Davey, who looks like he sounds and appears not to have really got the gloomy-goth memo.

During the next 90 minutes — a 20-track tour through the Sisters catalogue — there are mass singalongs for classics like Alice and Marian that embody the jangly guitar, pseudo-mysterious lyrics and occasional screams that are classic goth fodder.

A couple of new tracks are showcased, including an intriguing instrumental that hints at a different direction. Musically it’s not as tight as expected, with Eldritch’s voice the weak link and the lead guitar is at times is a bit off, although that will probably improve as the tour continues.

The encore opens with the raptly received Lucretia My Reflection, as does the George Bush-bashing Vision Thing, although Temple of Love doesn’t quite live up to expectations.

The finale is the bombastic, sub-Wagnerian This Corrosion which ends with Eldritch standing arms aloft. Christ-like, he sucks in the adulation as the audience hope for more. This is Eldritch in his element, the centre of attention, commanding all before him, bending them to his will.

But rather than give any more, he leaves them waiting and wondering, as he skulks offstage back into the shadows like a wry golem who’s got exactly what he wants.