Yeah Yeah Yeahs, Manchester Apollo. 16th June 2025

I’ve just got back in the country in time to catch Yeah Yeah Yeahs after working away this weekend. They’ve promised something special and The Apollo have put all the seats out, which could be dangerous, I’m knackered and my eyes are already heavy, surely I won’t doze off. I’m late sadly and get in as they’re just starting ‘Gold Lion’. I’ve only missed a few songs so not a disaster and I’m not the only one caught out by an early start. This would’ve been solved by getting in for the support, Grimm Grimm, who sound intriguing, but perhaps not as intriguing as this naughtiest banger reimagined in such cinematic grandeur. It’s B-side ‘Let Me Know’ followers and I can only report that this is indeed special. Karen is cloaked in sparkles, every bit the focus as the rest of the expanded band opt for effortlessly cool black. She orchestrates proceedings with the band joined by a string quartet, double bass, some extra guitar, I t’s a full sound, the sharp punk edges smoothed off but deftly so. A small billow of fog forms a cloud over the band as Nick and Karen duet with just an acoustic guitar for a cover of Bjork’s ‘Hyperballad’. It’s beautiful and drifts into ‘Cheated Hearts’ as the strings join in. It may all be acoustic but fucking hell it loses none of its power. ‘Warrior’ is darker as they’re bathed in red light and it goes a bit Nick Cave, which is fantastic of course. ‘Isis’ keeps things gothic as Brian pounds the drums and things get cinematic. They’ve always had this side to them but it’s marvellous to see it realised so well. A piano leads us in to ‘Runaway’ as two girls returning from the bar skip down the aisle, and why not, it’s lush as the strings kick in and Karen’s voice soars. She really does sound mighty impressive. The band aren’t unplugged and raw, but there is more space and Karen fills it perfectly. ‘Skeletons’ hits a tender note as I’m forced once again to shush two women chatting in the row behind me. For a set like this and songs like this, people like that should have their heads wrapped in gaffer tape. With a vulnerable county tone, ‘Spitting Off the Edge of the World’ makes me run the risk of closing my eyes. It’s haunting and leaves me spellbound, but builds to its rousing chorus ensuring I don’t relax too much. It’s so good I don’t want it to stop as Karen removes the cloak and Nick solos centre stage. ‘Mars’ is dedicated to Karen’s son. It’s another tender moment, that sets up ‘Modern Romance’, which lends itself perfectly to this reinterpreted style so well, it may well better the original. Just as I’m thinking this, they unleash ‘Maps’. My god it’s stunning. Please tell me these gigs are being recorded, these songs deserve to live like this beyond the live performance. As the crowd take over the vocal I’m not sure I’ve heard one so pitch perfect, I’m pretty sure I’ve never heard the Apollo sound so good, even Zimmer smiles. Karen pogos and punches the air for ‘Y Control’ and we all bounce in our seats. Yes, we’re still sat down remarkably. Worried about falling asleep, what was I thinking. This tour is not vanity indulgence, a desperate hurrah or ill judged cash in, Yeah Yeah Yeahs prove tonight themselves every bit at their peak. Nick returns with his camera to take some photos as the encore kicks in with ‘Burning’ and Karen dances on stage with light up shoes. Zimmer shreads, the piano stabs bass notes, those strings that have been stunning all night, feel like they’ve always belonged in this band. Everyone’s up on the feet finally for ‘Zero’. Honestly I thought this might happen earlier than the closing song. A mirrorball decends and the party erupts. The energy from the stage ripping through the room and I’ve got goosebumps. It’s still light as we spill out into the night, which is weird, but I’m quite thankful at the prospect of getting to bed and catching up on sleep with these beautiful songs fresh in my memory. They were right. This was special. Very special.