Supergrass | Rialto | Kissing Folks
Albert Corridor Manchester
seventeenth Could 2025
Celebrating 30 years of their iconic debut I Ought to Coco, Supergrass carry their high-octane anniversary tour to Manchester’s Albert Corridor. Armed with the identical frenetic vitality that first flung them into the highlight again in ’95, it’s a full-throttle journey down reminiscence lane, because the band carry out the groundbreaking album in its entirety.
Kicking issues off are Kissing Folks – a fresh-faced trio with only a handful of gigs below their belt and no official releases to their title (but). However you wouldn’t realize it. Beaming as daylight streams by means of the Albert Corridor’s stained-glass home windows, they launch right into a set of sharp, pop-tinged indie rock that grabs the group from the primary chord. Any nerves have been nicely hidden behind tight enjoying, massive melodies and real allure. It may be their fifth gig, however they carry themselves like seasoned execs and judging by the group’s response, it received’t be lengthy earlier than they’re headlining rooms of their very own.
Important help comes from Rialto, Britpop survivors with a aptitude for cinematic melancholy, who reformed after 24 years. They take to the stage with crisp fits and moody melodies, with tracks from their comeback album Neon & Ghost Indicators. No One Leaves This Discotheque Alive feels just like the nineties with hints of Pulp and the already-packed room are invested with the playful ‘la la la’ hook. Frontman Louis Eliot nonetheless eludes luscious vocals and it’s their traditional hit, Monday Morning 5:19, that ends the set. It’s a assured return; an ideal primer for the chaos to come back.
Supergrass have at all times been Britpop’s lovable misfits – all swagger, wild-haired and a glint of chaos of their eyes. So when the lights drop at Manchester’s Albert Corridor and the primary fuzzed-out chords I’d Prefer to Know tear by means of the audio system, we’re not easing in – we’re hurtling headfirst into an impressive, full-bodied time warp, again to the mid-nineties. This month marks 30 years of I Ought to Coco (Cockney rhyming slang for ‘I ought to suppose so’), the band’s whipcrack debut that earned widespread acclaim. Tonight, they play the entire rattling factor, begin to end. It’s an evening of crunchy riffs, teenage defiance, and the type of giddy nostalgia that comes from reliving considered one of your favorite musical amorous affairs. It’s a full-album celebration mode and the band are unstoppable.
“Welcome to the Albert Corridor for the second (sold-out) evening!” Coombes beams. “Final evening was off the size. Fairly fucking wild. However now it’s Saturday evening… no strain.” Goffey fires off a fast drum roll to punctuate the remark and the group goes ballistic, clearly able to tackle the problem and high the chaos. Coombes is effortlessly cool, fedora tipped, guitar slung low like he’s been ready three many years for this precise second to chop unfastened on the debut once more. Behind him, Danny Goffey is a percussive maniac, all flailing limbs and lunacy, tearing into the equipment with pure depth. In the meantime, bassist Mick Quinn retains issues deliciously groovy and grounded, holding the chaos collectively.
Caught by the Fuzz erupts like a riot, in its hormone-fuelled frenzy and looks like an ode to getting arrested earlier than your voice breaks. Mansize Rooster struts in on that janky piano riff prefer it’s gate-crashed a home occasion with a crate of Hooch. After which Alright – the last word anthem of self-liberation – bursts out with its sunny piano stomp, the group bouncing and belting out the phrases like their GCSE outcomes depend upon it. Swirly projections ricochet in time, throughout the ceiling. 4 bangers in, and the vitality is already off the size.
The Albert Corridor is a stunner, all stained-glass home windows and vaulted ceilings, and simply considered one of Manchester’s most atmospheric gig venues. Because the neon lights sweep throughout the tiered balconies, the area glows in unison with the sound. Suspended above the stage, a large cutout of the album cowl grins down watching over a congregation of lifelong followers and recent converts. Lose It rides waves of scuzzy guitar earlier than giving method to the stomp of Lenny, that crashes in with a slouching groove and perspective. Unusual Ones pelts in, punky and fast-tempo, earlier than loosening into its sleazy, off-kilter allure. Coombes half-croons, half-snarls his means by means of lyrics, woozy and a bit warped, clearly buzzing on the suggestions loop of the communal frenzy of followers. These songs have been written 30 years in the past within the throes of youthful chaos however tonight they’re right here, like outdated associates, loud and beloved however nonetheless feeling spanking new.
We’re halfway by means of the album now and the rate doesn’t let up. Sitting Up Straight is a rocket, quick and livid, whereas She’s So Free and We’re Not Supposed To dial down the quantity simply sufficient to shift the feel, nonetheless holding the trustworthy crowd in a good, euphoric grip. Time slows the tempo, opening into one thing extra spacious and unhurried, with its gently rolling rhythm transferring like a horse on a gradual trot. There’s a hypnotic cadence; a shimmer of psychedelia and Gaz’s voice is wealthy with soul. Then the haze thickens. The room sways prefer it’s floating inside a lava lamp as Couch (Of My Lethargy) performs out in a dreamy psych drift of sound. Time to Go closes the album phase like half lullaby, half farewell. However that is no curtain name. That was solely half one. Half two smashes straight into the massive hits.
Danny explodes onto the equipment like Animal from the Muppets as Richard III is unleashed. The group goes feral – dancing, shouting, possessed by that iconic riff that takes them again to the indie disco days. Late within the Day brings a wistful dip, melting right into a bittersweet melody, earlier than the good Mary sends the room spiralling once more – all ‘ah-ah-ah-ah’s,’ glam-goth attract and a dose of menace. A agency favorite for me. The response is prompt when Transferring begins; arms aloft, voices raised. And when that rhythm teeters on the sting throughout the gradual construct, earlier than plunging into its pounding stomp, your entire room is prepared. It’s a particular spotlight and so good to listen to it carried out dwell. Grace saunters in like a jubilant slice of glam-tinged pop and Gaz delivers crooning vocals with a velvet-like texture, virtually like a half rock ‘n’ roll sermon.
The encore hurtles in with two colossal crowd-pleasers – Solar Hits the Sky and Pumping on Your Stereo – each parading in with extremely infectious hooks. Solar Hits the Sky is all rocket-fuelled optimism with Coombes’ voice rising into the rafters. Then Pumping on Your Stereo slinks in irresistibly, with that rubbery bassline setting hips in movement. The group erupts into the cheeky refrain, although you possibly can’t assist however surprise, are they really chanting “humping in your stereo” just like the band slyly do on the unique recording? For those who didn’t know that, have a hear. It’s a triumphant nearer, whipping the room into one remaining frenzy.
Supergrass usually are not simply again – they’re blazing. Tonight is a celebration, a reunion and a reminder that anthemic pleasure, when performed loud sufficient, by no means will get outdated. Right here’s to a different 30 years of being alright.
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Supergrass may be discovered at their web site | Instagram | Fb
Rialto may be discovered at their web site | Instagram | Fb
Kissing Folks may be discovered on Instagram | Fb
Phrases by Clare de Lune. You will discover Clare on Instagram and Fb
Pictures by Andy Pountney. You will discover Andy on Instagram
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