THE HORRORS RETURN WITH AS MUCH PROMISE AS THEY HAD IN 2009 - LIVE REVIEW

There are few bands that can boast the same level of critical acclaim and sticking power as The Horrors. THE poster band of early 2000s gothic music, The Horrors’ influence has been felt across music, fashion and underground subculture for the past two decades.

Celebrating their 20th anniversary this year, 2025 saw The Horrors return to the live scene with a brand-new album and line up.

Night Life, the band’s first full length offering in 8 years, marks a new chapter in The Horrors’ story. Taking a new sonic outlook, Night Life is the band’s first album not to feature all 5 original members, instead the new line up is centred around the core duo of vocalist Faris Badwan and bassist Rhys Webb, joined by Amelia Kidd on keys and Telegram’s Jordan Cook on drums.

We headed down to Manchester’s New Century Hall to see how this new era would play out on a live stage.

For those concerned that this new venture would mean a departure from the classic Horrors aesthetic need not worry. From the very first few moments of the set, the ethereal yet industrial vibe that Horrors fans have come to know and love was cemented. A signature long moody intro accompanied by spotlighting and smoke machines built up the anticipation as the new band entered the stage, ready to showcase their new sound.

Starting the proceedings with the emotionally charged ‘Silence That Remains’, the first single from the new album cycle felt like a bold statement, almost as if to say, “We’re here, we’re back, but this is a long way off from a greatest hits. We’ve still got plenty in the tank.”

Next up was a treat for those fans who had been there from the beginning, the 80s alternative inspired ‘Three Decades’, from 2009’s Mercury Prize nominated Primary Colours. The high energy track was the perfect choice to inject some life into the crowd, with Faris Badwan dramatically thrashing around in a way that can only be compared to early Ian Curtis performances.

‘Mirrors Image’, another early track inspired a clap along from the crowd, before the band decided to make full use of the venue’s light up ceiling. A unique feature that really enhances every show played there, New Century’s original 1960s ceiling is its crowning jewel, and The Horrors allowed it to shine in its full glory, with the lights changing colours in psychedelic patterns in time with the music.

The venue’s sprung dancefloor also played its part in the set, with the deep bass vibrating underfoot during ‘The Feeling is Gone’, one of the new album’s more electronic tracks.

Fan favourite ‘Sea Within a Sea’ was a surefire highlight of the set, with the die hards in the crowd letting off cheers and whistles from the first few notes of the intro. A track that perfectly marries industrial rock with electronica esque euphoria, ‘Sea Within a Sea’ would look just at home in an LCD Soundsystem set, with Badwan’s haunting baritone vocals acting almost as an instrument in themselves.

‘Moving Further Away’ continued this rave-like ambience, accompanied by red flashing lights, with Badwan using a handheld device to send green laser patterns out across the crowd.

Known for being a frontman of few words, Badwan avoided any long rambling monologues – an unusual yet refreshing feat in a world where musicians are half expected to be societal commentators alongside actual performers- instead keeping his address to the crowd simple and reserving it for the final few minutes of the set.

“This year is 20 years of The Horrors, and Manchester has always been a very special place to play for us. Thank you!” he shouted over the crowd, who were singing along to the instrumental intro of psych hit ‘Who Can Say’.

After briefly leaving the stage for the inevitable encore, the band re-emerged to the atmospherically thumping bass of new album track ‘Lotus Eater’, which was followed by a genuinely fantastic cover of David Bowie’s ‘Heroes’, with Badwan’s voice perfectly carrying the song – a difficult feat which I’m sure Mr. Ziggy Stardust himself would have approved of.

Of course, there was only one real candidate for the final song of the night, the whimsical and wonderful ‘Something to Remember Me By’, which brought the set to a thundering close.

Before the release of Night Life it would have been tempting to write off The Horrors as a band from a previous era, which might struggle to connect with fans in 2025. Like many other artists from their generation, it would have been easier, and possibly more profitable to whack out a greatest hits, tour it to death and sit back and enjoy the paycheque. But not The Horrors. The release of new music, a new line up and new tour dates is admirable, showing that Badwan and Webb, along with their new band members value their musical agency over any gimmicky money-making tactics.

2025 sees The Horrors enter a new era, reinvigorated and filled with all of the promise they had back in 2009. With a hint that the band will be ‘back next year’ in some capacity, festival stages and larger venues will welcome this much-loved band back with open arms.

To keep up to date with The Horrors head to: https://www.thehorrors.co.uk/

To see what else we have been up to keep an eye on our socials.