Gorillaz

As Damon Albarn emerges from the landscape of human silhouettes that strike strings, keys, high-hats and the multitude of other sound-creators that combine to conjure the Gorillaz live experience, to perform an ecstatically received encore sung against the musical backdrop of a Chinese Zither, a penetrating smile breaks across the whiteness of his face. It is the smile of a knowing-man, one who had a vision and – after much time & toil – has managed to make it become a reality. With so much speculation over the who’s, how’s and why’s of a performance such a this, it is with genuine anticipation that the crowds gallantly cheer as the safety curtain of Manchester’s Opera House rises, beginning proceedings.

So how do you go about bringing a two-dimensional, cartoon band into the three-dimensional, living world? Essentially, you don’t. The show begins with appearance from 2D & Murdoch, leering out over the edge of the Royal Box.

Rendered as frighteningly alive 3D puppets, masterfully animated with the fluidity of a real person, they offer some light comic relief between songs but remain largely in the background as the music takes place on stage. Instead the focus lies on the album ‘Demon Days’ itself and each song’s guest performers, who filter through after one another, as if taking place in a musical pageant.

With the 2D band members kept largely out of sight, meaning a recreation of The Muppet Show is neatly avoided, the music comes into its own. After the rousing intro, performed to a video montage of war and destruction, Albarn injects with the mind-encroaching ‘Last Living Souls’. Its effect is majestic and as the fifteen-piece string section join him we are given a taster of the vast dynamics with which tonight’s show shall operate.

Neneh Cherry is the evening’s first special guest and is received with wild applause as she takes the stage to lend vocals to ‘Kids With Guns’. However, it’s not until current single ‘Dirty Harry’ strikes up that things really kick off. Guest vocalist Bootie Brown raps with diligence and demeanour that fast unravel the repressive sense of elitism instated by the venue’s grand trappings. Backed by a twenty strong children’s choir and a young boy with moves that would put Michael Jackson to shame creates the first truly jaw-dropping moment of the evening, confirming in every person’s mind that what they are witnessing is something truly exceptional. It pushes the boundaries on what a music gig can be and it’s enthralling to be a part of the crowd watching it.

From hereon every song performed is applauded with a standing ovation. ‘Feel Good Inc.’ sounds even better live and De La Soul’s materialisation is triumphant. The arrival of Roots Manuva & Martina Topley to sing ‘All Alone’ is long anticipated, but frustratingly the acclaimed rapper, cloaked in a thick parka jacket, appears to be in a distant trance and doesn’t quite manage to fill the massive void that the opera house’s lofty height creates. It is no matter as minutes later the 2000-capacity venue are united in voice as they help Shaun Ryder remember the words to chart-smash, ‘Dare’.

By the closing title-track, ‘Demon Days’ it is apparent just how much Albarn’s brainchild has achieved. Gorillaz have merged the boundaries between popular music, theatre and art, helped re-invigorate the previously tired and uninspired charts and allowed pop to transcend itself, becoming something culturally revered, artistically significant and – most importantly - thoroughly entertaining. The show’s breadth and optimism sets a new benchmark for what a live gig can and should be, let’s hope it inspires a new wave of performances that are approached with as much sky-high aspiration.

FUTURE GIGS

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