Live Review: The Delgados at Manchester Academy 2

There are bands that are so prolific in their touring schedules that fans can barely miss them for the sheer volume of gigs they work through. Then of course, there are bands that rarely venture beyond the confines of the studio walls, instead preferring to hone their craft for years on end before allowing their babies into the world - Hello My Bloody Valentine. 

The last decade has seen the rise of long-defunct bands reforming to tour reach almost epidemic levels. The financial reality being such that bands who produced album-after-album of quality work and toured extensively during their creative peak without the success their work deserved, have to play live again and are being recognised in the streaming age for their influence - The Delgados are one such band. 

During the late 90s' and early 00s', The Delgados were never short of critical acclaim, with 2000's The Great Eastern in the running for the Mercury Prize, but success - although a relative concept - never seemed to resonate beyond a loyal and fervent fanbase. Having produced five albums in the space of ten years and also finding time to spearhead Chemikal Underground Records - that brought us Mogwai, Arab Strap, Bis amongst others - the band were never really given the love they truly deserved. If the Indie dictionary has a section for underrated, then the Motherwell natives are right towards the top of the list. 

                       

So when the band tentatively announced in summer 2022 they were to reform in the new year and play a short five-date tour of the UK - taking in Brighton, London, Manchester, Sheffield and Glasgow - it felt like unfinished business was the most obvious reasoning. Manchester was the scene of the third date on the tour at the Academy 2 venue. The live band entered the stage and it's a extended version from the original four-piece of Emma Pollock (Guitar/Vocals), Paul Savage (Drums), Stewart Henderson (Bass) and Alan Woodward (Guitar/Vocals), with keyboads and a mini-orchestra that takes the performance to a new level and brings out the fullness of the songs.

Most of tonight's set comes from the band's three most celebrated albums: 1998's Peloton, 2000's The Great Eastern and 2002's Hate -  a finer run of albums it'll be difficult to find from the era. The early moments of the set owe much to dark cinematic swoon of Peloton.  Opener 'Everything Goes Around The Water' is warmly received and is the perfect opener, setting out the stall for what's to come with it's darkly brilliant cinematic crescendo.

 Acoustic-driven 'The Arcane Model' was an obvious single at the time and sounds huge with orchestral backing. A dark tale of a revenge best served cold, 'The Actress' is both spine-tingling and sinister in equal measure. Perhaps the band's most critically celebrated song from the album was 'Pull The Wires From The Wall', which made number 1 in John Peel's Festive Fifty - a fact that Pollock relays to the crowd in introduction only to be jokingly accused of a "..a humble brag" by Woodward.

Produced by Flaming Lips and Mercury Rev Producer Dave Fridmann,  Mercury Prize nominated The Great Eastern saw a band taking the edge off elements of their sound without compromising their ideals. It also features some of their most stirring, anthemic efforts which provide the platform for lyrics that hang on every melody. There's a jawdropping version of 'The Past That Suits You Best', which features Woodward's vocal drawl at it's finest. The song wades into the murky depths of addiction with some deeply emotional lines resonating with many in tonight's crowd:

I've seen the trauma of lives that were squandered/but I'm not to blame for showing restraint.

A rousing 'No Danger' is a rally cry to see past the bullshit and live your life to your own ideals and the sound is so monumental, it fills the room with a resolute pride. The gig is not all plain sailing though as emotion gets the better of both audience and band at points. During a quiet point between songs, there appears to be an altercation between two members of the audience, which looks - for a split-second - to overspill onto the stage. Thankfully, it blows over and Emma casually calms it down by asking "Are we cool now?" and there is a tangible relief all around that such a special night isn't about to be ruined by idiocy. Emotion does overspill on stage as Pollock chokes up during the intro to The Great Eastern closer 'Make Your Move' . Composing herself, she gets through it, but it shows just how much it means. 

On the back of two such critically lauded albums, Hate appeared to take the band's sound to it's logical conclusion. A poppier album in the sense that de-tuned guitars appear less and broader orchestral arrangements and keyboards prominent, the album counteracted that with black humour at the heart of the lyrics. Singles 'Coming In From The Cold' and 'Hate is All You Need' get an airing, but it's a gorgeous rendition of 'The Light Before We Land' that fails to leave a dry eye in the place. 

During the near two-hour set, the band also finds time to add some songs from the band's debut Domestiques from 1996 and their final studio album, 2004's Universal Audio. With 'Under Canvas, Under Wraps' from the former, The Delgados show their earlier, more lo-fi punk ethic and it goes down a storm with the hardcore. In contrast, 'I Fought The Angels' from Universal Audio is pure, stripped-back guitar pop and it stands out as one of 'The Lost Band'(s) great 'Lost Singles'. 

'Thirteen Gliding Principles' ends the night with a stirring high, showcasing the best of the blending of Pollock and Woodward's vocals. Alternating lines before the chorus explodes into life and ends with a cavalcade of noise that is beautifully complimented by a swooning arrangement. Eyes are wide open with awe as much as joy by the time the song suddenly stops. 

The dawning realisation that nearly 2 hours have passed since The Delgados took the stage hits when my smiling subsides slightly to wincing at back pain. It's not an uncommon sight, as most of the crowd leaving into the night are not at their physical peaks, but it's nights like these that the aging process almost feels as much a blessing as a curse. 'Witness' from The Great Eastern contains the line:

There is no dignity in losing a friend.

Tonight feels like we've gained an old one back and long may it continue.