I declare excitement for most gigs I go to, I wouldn’t go to them after all if I didn’t want to. Every now and then though, there’s one that peaks that bit higher. I give you, the The. A band I’ve adored since stumbling on a copy of the Dis-Infected EP in the 90s, my gateway that quickly lead into Dusk and further into a rich tapestry of seemingly effortlessly beautiful genre defying lushness. This is my first time with them live though. Matt Johnson, who essentially is the The, doesn’t tour that often, even less so in the UK and as far as I can work out, they’ve not been to Manchester since 2000. Something Matt later confirms. I suspect then, that I’m not the only one a bit giddy in the throng that’s amassed inside The Apollo tonight. I know there’s going to be songs missing in the set that I’d love to hear, but honestly Matt could sing the phone book (does that still exist?) and I’d be happy. Plus tonight is going to be split into two sets, no support, lots of songs. The first set is a full run through the new album Ensoulment. For some artists this would be death in a live set. Who does this with a record that’s only been out a few weeks. the The are different though, for two reasons, the fan base is dedicated and will know this record word for word, the second is it may well be the best record yet… and that’s really saying something! These new songs feel like instant classics. It’s a sold out Apollo of course, thousands of hardy souls have braved the biblical Manchester rain and are now snug and ready.
‘Cognitive Dissident’ starts us off. It’s theatrically atmospheric, the sparse lightning leaning into it as a hush of awe descends on the room. Before the wonderfully named ‘Some Days I Drink My Coffee by the Grave of William Blake’ follows the tone, but in a Nick Cave narrative manner. Matt’s voice sounds thick and velvety. This is supposed to be the quiet “listening” portion of the evening but it’s a sedate noir banger and ‘Zen & the Art of Dating’ follows with a dark sultry late night vibe, complete with Hammond chords, 70s funk-fused riffs and a silhouetted dancer on the blood red backdrop. It’s really emotive stuff. The lyrical menace of ‘Kissing the Ring of POTUS’ is amazing and as the chorus soars, with Matt, suited in black stalking the stage, I could float. Each song is a mini cinematic piece of magic. More than the sum of their parts. I’m not sure in I’m in Manchester anymore. I’ve been dropped in a candlelit jazz bar at 2am in an obscure European city, as drums are brushed and guitars teased. That is until someone thankfully far behind me is told to “shut the fuck up!”. Ah Manchester. We should all be sat at little tables with tiny lamps adorned in tasselled lampshades. The light projection conjuring shapes and figures behind the band is really quite beautiful and perfectly matches the sounds from the stage. The chatter can be detected a little bit in the quieter moments as violin bows meet guitars. It’s a shame. I know there’ll be some here than haven’t heard these songs before, it’s inevitable, but this is a great way to hear them for the first time. They really are missing a trick. As we come to a close with set one, an apt ‘A Rainy Day in May’ spreads its wings, I’m so blissed out I could leave right now content. This album really is that good.
I won’t though. If I was a little excited to hear the new stuff, I’m positively giddy for the classics. This is the “dance” set we’re told. ‘Infected’ tears out of the gates and the gloves are off. The singing starts and those riffs kick. I’m in instant heaven. Everyone now in fine voice, take over parts of ‘The Sinking Feeling’. The connection between the songs and the crowd is clear. Thatcher gets a boo as ‘Heartland’ flexes its political derision, but truth be told there’s no dancing. They’re not really that band it seems. It’s more head bobbing appreciation. ‘Love is Stronger Than Death’ does gently soar though. It’s respectful, like being in church (I imagine). A harmonica breathes for ‘August & September’, the piano dances, riffs bend and Matt serenades us soulfully in the coda. He then tells us he doesn’t like Manchester’s new skyline and nor do some of the audience apparantly. I disagree, miserable bastards. Nothing wrong with change. For instance ‘Slow Emotion Replay’ gets stripped back and sounds gorgeous. ‘This is the Day’ is the recognisable hit. There’s a no phones policy (that’s been followed amazingly), so everyone’s in the moment, just 3500 people singing. It’s amusing to see which songs land. It’s most of them really, but I’ve no frame of reference with the The, as to what are the big hitters live. ‘Icing Up’ is a great sprawling piece of psyche but it definitely loses some around me. ‘Dogs of Lust’ follows. If there was one song I was desperately hoping for, this was it and fuck me it’s amazing. The distorted harmonica tiff sounds even better live. No one is moving, which I find very odd. I can’t keep still though and I really don’t care if I’m the only one dancing. I get that it’s an older crowd, but come on we’re clearly cranking up to the business end. They take a bow on ‘Lonely Planet’, which is once again a pure moment of utterly life affirming joy and I’m completely lost, I love this band. They’ve given everything and more, but there is more as they return for an encore, Matt introduces the band and they give us ‘Uncertain Smile’ with a stunning piano solo. (I don’t get to say that often enough) and then ‘GIANT’ which sounds like nothing else in the set. With its funky backbone and those breakbeats the place should be bouncing but I guess it’s not that audience. What a glorious way to close though and what a great gig. An absolute pleasure.
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