Puscifer, Manchester Academy. 8th November 2026

Once again I find myself stuck in a massive queue outside Manchester Academy. Now this may be partly band popularity, but it’s largely down to their ridiculous door security and apparent inability to run it properly. Something isn’t right. It never used to be this bad and no other venue this size struggles like this. That off my chest and slowly warming up inside, it’s time for Puscifer! Now, I’m no expert, I’m here largely due to Tool, for which Maynard James Keenan also sings. I’ve often thought of this as his pet project, but as the albums have come, so has the band grown. I think we’re close to 10 albums deep now, not including a ton of live releases and tonight is in support of the latest, Normal Isn’t, with the set leaning heavily in its favour. After a stern no phone warning that’s impressively followed throughout, we start with ‘Thrust’. The three piece band on the stage and the twin vocals from Keenan and Carina Round on a huge rigged riser that runs across the back, with spotlights probing the room. It’s pretty imposing stuff. The outfits, Keenan with his prosthetic mohawk and Round in a dress that would fit right in an 80s sci-fi horror. The make up, the lights, it’s an overblown production and very theatrical, but make no mistake, the sound it’s sharp and the band fucking tight. ‘Bad Wolf’ sounds incredible. It’s all such a spectacle though, it feels like all the air is being pulled from room. The crowd feel to be in shock, could be awe, probably both. ‘Normal Isn’t’ is a disarming disco banger. The sound is so clean. The Academy isn’t usually noted for its sound, but I’ve got to admit it seems to work brilliantly for Puscifer. ‘The Algorithm’ is arthouse metal with a moral message, Keenan really isn’t a fan of phones and to be honest, I’m with him. They are still a bit chin strokey. Not like Tool, they’re more accessible, even a bit poppy. Some heads are bouncing, but most of the crowd are stock still. It’s a bit of a shock after last night and feels weird, but this is all very controlled and it creates a much different vibe in the room. ‘Pendulum’ really optimises that control, there’s no sense of the live improv I enjoy, but it still sounds great, pure goth with the twin deep and ethereal vocals going toe to toe. After a weird video interlude that I won’t bother describing, ‘The Arsonist’ hits like a menacing power ballad, before ‘Mantastic’ ups the power. The guitars now taking to the riser, but fuck me those vocals, Round sounds sublime as she soars, but Keenan is so distinctive, he really takes your breath away. ‘Bullet Train to Iowa’ is perhaps the most grand and ambitious song. It’s almost operatic, with Keenan pirouetting beautifully. There are no hits but ‘The Remedy’ seems popular, the bloke behind me screaming lyrics down my ears as Round shoots Keenan with a Nerf gun! Then we get an intermission. A proper one, with Muzak and a comic book graphic informing us we have 10 minutes. Honestly I’m confused. There’s no costume change, what was all that about? Anyway, that over, they return with the sparse electro folk of ‘The Humbling River’ which gently eases us back in. It’s all pretty complex and uncompromising. ‘ImpetuoUs’ is very easy on the ears though, a proper pop monster. ‘Seven One’ is as loose as they get. Samples, drums and heavily processed vocals whipped up in a heady maelstrom. They stay in lane, but do serve about, it’s a set that certainly keeps you on your toes. ‘Conditions of My Parole’ sounds like Gary Numan, industrial swagger and tribal beats. That’s a collaboration I’d love to hear come to think of it. Support act musician/comedian Dave Hill, in a jumpsuit and glitter-ball helmet, interrupts on his bike during ‘Grand Canyon’. I’m not sure why but he’s back for the closer, ‘A Public Stoning’ too, being comically dragged off stage with his guitar long after the band have left. Maybe this would make more sense if I’d seen his act earlier, but I take it to mean this is all about having some fun. Puscifer sound like a serious band and ‘A Public Stoning’ sounds like serious (and absolutely excellent) song, but maybe this is all just a reminder that it’s music or art, or a performance, some serious messages contained within for sure, but also pure escapism, with alter egos and the opportunity to dress up and transcend a world that often just feels too much. I wasn’t sure what to expect tonight and I’m pretty sure it wasn’t what we got, but it was a wonderful surprise and I loved it.