Massive Attack at Manchester Apollo review

Image: Massive Attack 

Warzones, human strife and suffering have been sung about, criticised and often fought against in popular music for just over a century now. From the propaganda pomp of the First and Second World Wars to the anti-Vietnam records of the sixties, it is a subject close to the hearts of a lot of musicians. 

More recently, hip hop artists such as Jay-Z paid tribute to those who were killed in the 9/11 attacks in New York, whilst the likes of Immortal Technique condemned the key figures behind the disaster.

In 2016 it is the war in Syria that is a constant undercurrent in the British media, with a particular focus on migrants trying desperately to seek refuge in countries across Europe. 

Whilst the giants of 21st century pop music have far more important things to worry about, it is refreshing when artists further down the pyramid spread the word of such important causes.

Bristolian trip hop legends Massive Attack have teamed up with their friend and U.N Refugee Agency photographer Giles Duley for their European tour. Ghosting into Manchester’s Apollo theatre, it was clear that they had an important message to share.  

As the band assembled on a barely lit stage, the crowd’s attentions were focused on what was going on behind it. A series of financial figures lit up on an enormous screen and began gathering in pace as opening track ‘Battle Box 001’ rumbled on. 

The stunning visuals continued to be prevalent throughout and the on-screen messages matched the perilous music produced by the band in the opening encounters.

Pounding basslines and cataclysmic drumbeats lay down the foundations for searing guitars and hushed vocals as the Bristolians dipped into their back catalogue with consummate ease.

The likes of 2010’s 'Paradise Circus' was a hit with a decidedly older crowd, even those who were seeking a throwback to the nineties. The likes of which were sometimes baffled by the political messages beaming from above the stage, but generally they were accepted and understood. 

The most amusing was a series of genuine newspaper headlines, ranging from the closing of borders in Europe to a cancelled Zayn Malik television appearance. The latter brought sniggers from a crowd painfully aware of the bullshit that dominates the front pages of British tabloids. 

The calming mellotron of 'Teardrop' was given a sinister twist but made way for the soothing vocals immortalised by Elizabeth Fraser of the Cocteau Twins back in 1998. The song settled a sometimes restless crowd, and the wrapped response to its modest bassline and beats was a testament to the beautiful simplicity that defined a genre. 

Following on with the decidedly menacing ‘Angel’ was a triumphant decision. On the night the haunting vocals were performed by special guest reaggae artist Horace Ady, who had already made an appearance during ‘Girl I Love You’. 

‘Angel’ saw Massive Attack’s full arsenal on display, in particular the gnarly lead guitar that makes the hairs on your neck stand on end.

With the audience fully captivated there was still time for ‘Inertia Creeps’ and ‘Jupiter’. With a gap of 15 years between the two songs, it’s a credit to the band that they have continued peerlessly in producing music in a genre so decade specific. 

Support act Young Fathers joined Massive Attack for the majority of the four song encore, helping to further spread the word of strife in Syria. As photographs flashed above the stage during the closing moments, the audience seemed surprised when the images and the band ceased to continue for one more song. 

The evening proved to be a powerfully political experience, but while the band had well and truly created a trip hop symphony without playing their most famous song, things did seem somewhat unfinished. 

Words: Henry Lewis 

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