Kelly Moran, Soup. 17th February 2026

This is a different experience from my last outing with Kelly Moran, where she was playing with a full size piano in a space used by The Hallé. In Soup tonight with a keyboard she’s no less impressive. There’s more production and yes there’s a backing track, but it’s the keys that pack the punch. The room is full and I’d forgotten how much I like this space. It feels more suited to noise, I recall having my ears blown off in here by Dylan Carlson. But the sound is delicate where it needs to be and locks in the power wonderfully. Four records deep, there’s a disarming range of sounds to explore. All of which are accompanied by projected video behind her solo figure. It’s beautiful stuff, but all underpinned with a distinct darkness. Moran herself seems to have a touch of negativity about her, but musically it’s captured and controlled allowing her to let it breathe and soar. I figured in this venue, we might get more of a performance than a recital and I was right as Moran throws her arms away from the keys with each strike, half dancing as much as the instrument allows. We’re all stood stock still though, honestly finding the right rythem to follow in some of this is tricky, so wisely no one attempts it. Metallic and processed glass shards are as much present in the score as more traditional notes, building a multilayered kaleidoscope of sound. I’m not goons lie, there are moments that are a little over performed, as warm synth notes tease out across the sea of transfixed faces, but it’s a minor critique. It might be that with the lights down low and her leaning into her ice queen persona, that this is the most atmospheric I’ve seen her live and the set glides by in an avant garde haze. If you’ve not heard Moran before, the new record is as good a place to start as any, but dig deep into the catalogue and if you can, buy a ticket to see her live.