MANIC STREET PREACHERS | LIVE REVIEW
Cardiff Castle, Fri 5 June
Blackwood’s finest have played pretty much all of the Welsh capital’s venues, but only one remains that hasn’t experienced their blood and thunder – the spectacular surroundings of Cardiff Castle. Until tonight.
The buzz engulfing the gig was huge in the run-up to Friday evening, and for the 10,000 fans in attendance it was arguably the most anticipated event since 1999’s stadium extravaganza Manic Millennium. Plus, hearing James Dean Bradfield booming out A Design For Life across the city centre at the soundcheck on Thursday afternoon ratcheted the excitement levels to fever pitch.
Thankfully, the weather gods look down on the Manics favourably and they walk onstage to a stunning sunset, perfectly outlining the iconic castle’s walls and prompting Nicky Wire to take a few photos for himself. Seconds after the frantic light-show, flashing images and the strains of the Chemical Brothers’ Faster remix subside, Bradfield launches into Yes – the first of many trademark riffs he’ll reel off in style.
For much of the last year, the Manics have toured the 20th anniversary of their bleak masterpiece The Holy Bible, and the beautiful backdrop of the 11th century castle provides a fitting finale. But with themes of anorexia, capital punishment, the Holocaust and prostitution, it was never going to be an easy listen for the casual fan. And I doubt One Direction have song titles like Of Walking Abortion and Die In The Summertime in their setlist, a few hundred yards away. Regardless, the album is widely regarded as their best work and the usual mess of eyeliner and spraypaint clinging onto the crash barrier hangs on every syllable that Bradfield spits out.
There may not be a feather boa in sight onstage, but instead the set is covered with camouflage and netting to reflect their military chic of 1994. Bradfield is suitably decked in a navy sailor’s suit, whilst Wire daubs on the warpaint once again. Similarly, the band may no longer be the ferocious ball of fury that earned Top of the Pops a record number of complaints (via Bradfield’s supposedly terroristic balaclava), but they remain a truly aggressive experience live. Somehow he manages to wrap his mouth around every lyric to deliver vitriolic vocals on Mausoleum and Faster, as well as producing a blistering guitar solo on Archives of Pain. Consequently, you can’t blame him for gasping for breath between songs.
There were mellower moments, too, like a gorgeous rendition of This Is Yesterday. Revol is preceded by an emotive tribute from Nicky Wire to missing bandmate Richey Edwards, who was such a huge inspiration and driving force behind The Holy Bible. Closing the first half of the set is the double-header of The Intense Humming of Evil – surely the darkest song ever performed at the Castle – and a riproaring rendition of PCP.
Bradfield, observing that The Holy Bible was hardly summer party music, promises that the second half will be a lot different. What follows is a joyous run-through of the band’s greatest hits and hidden gems. However, it starts in understated style, the vocalist returning to the stage in a sharp black suit accompanied by a string quartet for a beautiful acoustic version of The Everlasting.
Perhaps the best riff in Bradfield’s repertoire remains Motorcycle Emptiness all these years later, and it still never fails to tug on the heartstrings. Plus, a quickfire salvo of If You Tolerate This Your Children Will Be Next, Your Love Alone Is Not Enough and You Stole The Sun From My Heart continues to crank up the euphoric atmosphere. The crowd reaction to recent single Walk Me To The Bridge also proves that it stands up to their finest work.
There were a few curveballs thrown in too: Generation Terrorists track Condemned To Rock’n’Roll somehow hadn’t ever been given a live airing before this tour, whilst the Nirvana Unplugged-esque Removables is greeted like an old friend. Sex, Power, Love And Money, off latest album Futurology, is also given the live treatment. And with its poignant political message, Golden Platitudes is perhaps the best Manics track never to become a single.
On nights like this, the band must still be pinching themselves at how far they’ve come. Therefore, it’s understandable that Bradfield perhaps allows the emotion to overwhelm him as he fluffs a few notes of Mae Hen Wlad Fy Nhadau in his intro to You Love Us. Yet that’s the only minor chink in the Manics’ armour. Bradfield soon dusts himself down for traditional set-closer A Design For Life, which thunders through the Castle as fireworks explode from The Keep.
The Manics have added another exhilarating chapter to an already incredible story tonight. They burst onto the scene in the early 90s promising to outsell Appetite For Destruction and split up after one epic album. Thankfully, they’re still here a quarter of a century later still meaning so much to so many. Nicky Wire recently spoke of the Manics needing a break to “replenish their inspiration.” How they’ll top this is anyone’s guess. Yet, for a band that delights in being unpredictable, you can bet it will be something special.
words NEIL COLLINS photos MIKE LEWIS