It’s time to bow down at the alter of Nick Cave and The Bad Seeds. That might seem a touch overblown, but with the current state of the world it’s as good a place to pray as any. You’ve got to try and stay positive after all. On that note, I’m even warming to Manchester Arena. I don’t come here that often, less so since another massive venue opened in the city, but they’ve improved the sound in here and it’s made a massive difference. As I’m walking down the steps onto the floor space, the band are already on stage, waiting for Mr Cave to join them. There’s a polite ripple of applause as he does and they rip into one of my favourites from the new Wild God album ‘Frogs’. It’s mammoth with a huge gospel vibe, hammered home by 4 suitably attired singers. It’s quite an entrance, but is remarkably dwarfed by the title track that follows. ‘Wild God’ is the sort of song that most bands would close with, it’s that powerful. To dish it out so early is testament to the quality they have to play with. It takes something to upstage Cave, but those backing singers really pack a punch. It’s euphoric and I’m already grinning from ear to ear. The set is dominated by the latest release, as it should be. These songs are crafted to fill every nook and cranny of venues like this. ‘Song of the Lake’ slows things a touch, before Cave takes a chance to chat a little. Declaring love back to eager fans that shout “I love you Nick” and instructing others to put their phones away. He works the front of the stage on ‘O Children’, holding fans hands as Warren Ellis stands on a chair to attack his violin. The sense of excitement as ‘Jubillee Street’ is introduced is palpable. This is a devote crowd, they’re very respectful, know every song and know how special this is going to be. I’ve seen them do this live before, but fucking hell did it hit this hard? It starts with its slow paced menace, but there’s no gradual build. They’re locked in and it’s lovely until the Thomas Wydler on drums goes fucking crazy and the whole band follow. It’s incredible, “Look at me now!” indeed, I can’t take my eyes off them! ‘From Her to Eternity’ is much more raw and primal, built around a xylophone of all things. It’s wonderfully chaotic as the 11 people up there go all in. After rightly declaring Ellis a genius, ‘Long Dark Night’ is somber and sad and I’m reminded that I’m feeling a little fragile. ‘Cinnamon Horses’, another new one is also slower paced, but it builds to a much more uplifting crescendo. “Is that alright?” asks Cave, to which the obvious answer is a roared “yeaaaah”. The crowd are a little quiet though, eerily so between songs. Maybe it’s sensed on stage as they crank things up with ‘Tupelo’. It’s much older and sounds it. Primal and viseral, Cave screaming like a demented preacher. Tie still straight and not a hair out of place as he strikes Christ poses. Magnificent. Have I mentioned the new album being brilliant? Well ‘Conversion’ might well be its best track. Certainly the most accessible. Those singers haven’t gone anywhere, but here they’re unleashed once more to maximum effect. They are stunning. Speaking of backing vocals. Warren Ellis may look bohemianly ravaged, but his vocal is angelic on ‘Bright Horses’. A camera shot from the back of the stage takes over the massive central screen, showing a sea of reaching hands toward Cave on the lip of the stage. This is what I meant at the start about coming here to pray. You see this a lot at Bad Seeds gigs, but it gets no less enthralling to witness. ‘Joy’ feels intensely personal, being in the albeit very large room with Cave. The lyrics cut through and you could hear a plastic pint pot drop “We’ve all had too much sorrow, now is the time for joy”. It’s spine tingling. I’d usually ensure that at arena gigs, I’m looking directly at the stage rather then the screens, but with Cave solo on the piano for ‘I Need You’, he’s looking directly at a single camera projected again on the massive central screen. It’s impossible not to get lost in the massive close up of his face. It’s like he’s singing into your soul. I’ve clearly hammered Wild God, it’s the songs from it that stand out the most to me, like the sublime ‘Final Rescue Attempt’. That said ‘Right Red Hand’ is pretty recognisable. It’s from that era where every song carried a story of ominous and murderous intent. It stands out a bit in this set with its bar room sultriness. Cave is in his element, improvising, whipping up the crowd and ridiculing their tshirt choices. You might not think it if you’ve not seen him live, but he really is an electric frontman. The suit stays throughout, but the tie finally comes off for ‘The Mercy Seat’. Everyone’s starting to look a bit warm up there as we reach the two hour mark. Well aside those backing singers who despite putting in one helluva shift still haven’t broken a sweat. Radiohead’s Colin Greenwood on bass looks ridiculously immaculate too. ‘White Elephant’ stomps its way to the encore break. The backing singers coming down from the top of the stage to take their rightful place in the limelight. This band really are insanely brilliant and make this look joyous from start to finish. Comically people are leaving as the band leave the stage, which is a little baffling as the lights haven’t come up. Anyone attending their first gig, a tip, don’t move while it’s still dark. ‘Papa Won’t Leave You, Henry’ brings the band back. It’s bouncy, almost knee slapping stuff with a frenetic pace as Cave orchestrates his lyrical mayhem and Ellis rings the hell out of a bass guitar. It’s been a while since I’ve heard ‘The Weeping Song’ and I’m not sure it’s the best choice as it starts, but it’s got that drive that keeps everyone’s head bobbing en masse and Cave seems to enjoy getting everyone clapping in an orchestrated pattern, even if it doesn’t quite work. The Bad Seeds then leave the stage and leave Nick to close with ‘Into My Arms’ solo on the piano. It’s powerfully poignant and brings a tear to my eye. I do not cry at gigs, ever, but this was special, as being with them always is. It’s a two and a half hour cathartic release that flew by. Pretty incredible.
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