It's no easy task to fully capture the ever-evolving world of Gorillaz. Part band, part ongoing narrative experiment, their story stretches across decades of “Phases,” blending music, animation, and fiction into something far bigger than a traditional live act.

At Manchester’s Co-op Live Arena last night, that world felt more alive than ever. With a two-hour set packed with elite musicianship, striking visuals, and a revolving cast of collaborators, the group delivered a performance that was as emotionally resonant as it was sonically expansive.

Much of the evening centred around their latest project, The Mountain, one of the band’s most personal works to date. Born out of grief following the loss of both Damon Albarn and Jamie Hewlett’s fathers, the album trades the band’s usual satirical chaos for something more introspective. Its themes of mortality, spirituality, and healing are woven through a narrative inspired by journeys through India, reflected in both the music’s meditative textures and the vivid, hand-painted visuals that filled the arena screens.

The show opened fittingly with the title track, “The Mountain,” an instrumental track infused with Indian classical influences. Sitar and bansuri flute echoed through the venue as a haunting spoken-word loop from Dennis Hopper played out, immediately setting a contemplative tone. That calm gave way to the sharper edge of “Happy Dictator,” with Albarn appearing almost as a broadcaster, delivering vocals through his signature CB radio-style microphone. The gritty tone cut through the arena, before he simply paused to greet the crowd with a brief “good evening.”

From there, the set began to weave between past and present. When the drums kicked in for “Tomorrow Comes Today,” the atmosphere shifted instantly. Seeing Albarn’s melodica projected across the huge screens brought a wave of nostalgia, and that feeling only deepened when he smiled and said, “ok, you got me,” before launching into “19-2000.” It was one of several moments where the band’s early 2000s identity collided seamlessly with their newer, more reflective material.

Collaborations, as always with Gorillaz, were a central pillar of the night. “The God of Lying” saw Joe Talbot join on stage, adding a raw intensity, while later highlights included “Stylo” and “Damascus” featuring Yasiin Bey, the latter also bringing out Omar Souleyman. “Kids With Guns” featured Michelle Ndegwa, and “Dirty Harry” brought the unmistakable presence of Bootie Brown. Each guest felt purposeful rather than gimmicky, reinforcing the collective spirit that has always defined the band.

Damon Albarn seemed happy to be back up north as he reflected, “The first time I ever played Demon Days was in Manchester, it's very nice to be back.” That sense of history hung in the air before he moved into “The Empty Dream Machine,” a personal highlight. Live, the track grew from a gentle, almost meditative opening into a towering wall of sound, bolstered by a full choir. It was here that I felt the full weight of The Mountain. I had been unsure how some of the new material would translate on stage, but in that moment it became clear that, for me, these songs actually surpassed their studio versions in a live setting.

There were other nice touches too. Before playing ‘Delirium,’ Damon took a moment to pay tribute to Mark E. Smith, honouring his influence and legacy. Introducing “The Shadowy Light,” Albarn remarked of Asha Bhosle, “I think she’s recorded something ridiculous like 5000 tunes,” a nod to her status as the most recorded artist in music history before her vocals were featured in the live mix.

Following a brief encore break, the show shifted gears into a run of crowd-pleasers. “The Hardest Thing” and “Orange County,” featuring Kara Jackson alongside Anoushka Shankar, was great to hear live. Having seen the latter performed on The Graham Norton Show recently, it was striking how much bigger and more immersive it felt in this live setting with the whistle hook ringing out across the arena.

The closing stretch was nothing short of explosive. “Feel Good Inc” saw Posdnuos take to the stage, sending the UK’s largest indoor arena into full bounce mode. The night finally came to a close with “Clint Eastwood,” a fitting finale that brought everything full circle.

What stood out most across the night was how cohesive it all felt. A band built on virtual characters and shifting identities somehow delivered one of the most human, emotionally grounded performances I have seen in a long time. Between the introspection of The Mountain and the timeless pull of their back catalogue, Gorillaz managed to balance grief, celebration, and pure joy in equal measure.

Photo credit: Luke Dyson.

Setlist, Manchester, Co-op Live, 21.03.26

The Mountain
The Happy Dictator
Tranz
Tomorrow Comes Today
19-2000
The God of Lying (IDLES)
The Moon Cave
El Manana
On Melancholy Hill
The Empty Dream Machine
Delirium
Glitter Freeze
Stylo (Yasiin Bey)
Damascus (Yasiin Bey - Omar Souleyman)
Andromeda
Kids With Guns (Michelle Ndegwa)
Dirty Harry (Bootie Brown)
The Shadowy Light
The Sad God

Encore
The Hardest Thing
Orange County (Kara Jackson)
Feel Good Inc (Posdnuos)
Clint Eastwood

Author: Andrew Braithwaite

Andrew is the founder and chief editor of Music Talkers. He's also a keen music enthusiast and plays the guitar.