The Divine Comedy, The Bridgewater Hall. 24th October 2025

The last time I saw The Divine Comedy, the sound was uncharacteristically bad in Albert Hall. I feel confident as I take my seat in the gods, that tonight in The Bridgewater Hall, we won’t have that problem. This is a very fancy venue, but I’m amazed that not one person checked my ticket on entry, I just walked in, that’s never happened at any of the hundreds of gigs I’ve been to before and it’s a bit worrying in these times of heightened security. This place is still a gem though, showcasing Manchester’s depth in amazing music spaces, but it doesn’t get used nearly enough on the gig circuit. Well not for the bands I come out to see. I think I was last here for Nils Frahm and there was an evening with Nick Cave. It feels fitting too for The Divine Comedy, who lets face it, deploy a catalogue of delightfully twee pop songsmithery. I’m slightly caught out. There’s a new record  that I’ve not heard, but surely there’s not been a massive departure from the older classics. Speaking of classics, the warm up tape is Elgar’s ‘Nimrod’ which certainly sets a grand tone before ‘Achilles’ kicks us off with a dust bowl country folk spring in its step. It would score a modern western brilliantly. Neil looks the part too. Dressed in black, complete with hat. ‘The Last Time I Saw the Old Man’ is no less cinematic, but we’ve changed screens as things take a step toward noir jazz. Considering I’ve not heard these songs before, they land brilliantly as I’m settling into my seat. ‘When the Lights Go Out All Over Europe’ is more theme song than score as they dip more into the pop song sensibilities. It’s still lush though, with strings, piano and a subtle but driving rythem. It all very charming. We’re thanked for coming and those upstairs are referred to as little angels by an appreciative Neil. The title track of the new record, ‘Rainy Sunday Afternoon’ breaks free of the perceptions its name might evoke and tees up ‘Norman and Norma’, with its kitchen sink romanticism. Neil taking a flourished bow, as well he might with such pop splendour. Violins, keys, three guitars, an accordion, ‘Your Daddy’s Car’ is full of baroque whimsy and razor wit. ‘I Want You’ is a nice counterpoint to ‘Achilles’. It’s slower, with more space, which allows Neil to flex his crooning skills, but it has that same twang. The Victorian theatrics of ‘Bang Goes the Knighthood’ is next. I’m almost expecting a full cast to join the band as its majesty unfurls. Neil teases those downstairs for still being seated as the pace gently increases for ‘Our Mutual Friend’, with Neil hopping off stage to wander the aisles as a sea of phones light up to take pictures. ‘Generation Sex’ does get a few out of their seats as the lights start to flash (the stage lights, not cameras). It’s bit like Pulp, but more grown up. For a moment I think that some of my neighbours are getting up for ‘At the Indie Disco’, but they’re just going for a wee. The tempo is definitely on the up though as the speedy Bossanova of ‘Neapolitan Girl’ swings, complete with some impressive syncopated hand clapping from the crowd. A drinks trolley is then rolled out for ‘Mar-a-Lago by the Sea’. Neil introducing the band as he serves them drinks. See, delightful. Cutting too as Neil imagines himself as that “Orange shit across the sea”, cue a round of applause. ‘A Lady of a Certain Age’ is great, but does nearly lull me to sleep and the guy in front of me spends the entirety of ‘Freedom Road’ trying to Shazam it with his screen brightness turned up to blinding. These are all lovely songs, but there is a dip.

‘The Heart is a Lonely Hunter’ is gorgeous, but Neil apologises for making us sleepy. ‘In Pursuit of Happiness’ though is a disarmingly twisty little bastard. Soaring chords and playful key changes, it’s bloody brilliant. I think everyone downstairs is up in their feet for ‘Absent Friends’, as Neil whips up the crowd. We’re at the business end now and it’s time for the hits. And so to ‘Becoming More Like Alfie’ which gets pockets of the crowd singing as they rip through it. ‘Something for the Weekend’ has even the gallery seats vacated as people politely dance in their allocated space, but ‘National Express’ really is still the star of the set. It’s the most unlikely banger with its cabaret cool, but fucking hell, after all these years, it’s still marvellous fun. They encore with ‘Songs of Love’. It’s impossible not to think of Craggy Island, but it does sound beautiful and quite a treat, I don’t think they played this last time I saw them tour. ‘Invisible Thread’ is the gentle bridge, before rounding off the night with ‘Tonight We Fly’. Neil waving goodbye to the audience. The audience waving back. Lovely stuff. There’s probably lots of songs I’d like to have heard, but it feels like the prefect set in the perfect setting… and the sound was fantastic.