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Mar 30, 2026 By Dom Gourlay Photography by Luke Dyson Web Exclusive

​It’s probably fair to say that a Gorillaz show is more of an event than your average, bog-standard gig. While not taking anything away from other artists, some acts were meant to play arenas and Gorillaz are one of them. With a cast of band members and collaborators that runs well into double figures every evening, and a visual element courtesy of mainly animated slide projections that act as cinematic backdrops it would be nigh on impossible for a production of this magnitude to work anywhere smaller.

The evolution of what was essentially a side-project conceived by Blur frontman Damon Albarn and visual artist Jamie Hewlett from a virtual band 28 years ago to the musical juggernaut that stands before us this evening is a remarkable feat in itself. While Gorillaz has often been a vehicle for long-established musicians from a variety of backgrounds - Clash bass player Paul Simonon, Simon Tong from The Verve, and former Senseless Things Morgan Nicholls and Cass Browne are just some of the musicians who’ve passed through the ranks over the years - the current line-up might just be their most taut and tightest unit so far. While Albarn is undoubtedly a focal point throughout tonight’s sold out show, Seye Adelekan’s bass lines send tremours around the room such are the levels of vibration emanating from his amplifier, while guitarist Jeff Wootton flits from electric six-string to acoustic to steel pedal at regular intervals. And that’s before we even get to the rest of the band or any of this evening’s guest collaborators.

Touring in support of ninth album The Mountain, a record many commentators have claimed is Gorillaz’ finest collection of songs to date. Playing eleven songs off the album this evening, each telling its own story via the animated projections at the back and sides of the stage. A couple of which are presented in person by guest collaborators Kara Jackson (“Orange County”) and Trueno (“The Manifesto”) respectively, the latter having already warmed up the room with an energetic set of Argentinian hip hop strongly echoed by accompanying visuals stating “FUCK FASCISM” such is the universal threat of fascistic right-wing politics at the minute. Some of the band’s iconic cartoon characters make random appearances - mostly at the outset of the band’s biggest hits - which brings rapturous cheers and applause from both the standing and seated areas of he 10,000 capacity arena.

Clocking in at around two hours including a thirty minute encore, tickets might be expensive but no one present can claim to have been short-changed. On the contrary, a Gorillaz show is an all inclusive, all encompassing spectacular that doesn’t come up for air until everyone has departed the stage one final time. Damon Albarn ventures into the photographers’ pit on numerous occasions, even climbing into the seats at one point to greet starstruck fans. While songs like “The Empty Dream Machine” and “Delirium” further illustrates the seamless transition of The Mountain’s finest pieces into a live setting, the addition of some of Gorillaz’ best known compositions from their extensive back catalogue adds an exquisite touch to proceedings.

The unmistakeable intro for “Tomorrow Comes Today” turns the Motorpoint Arena into a giant rave while “19-2000” follows suit in equally cataclysmic style, cartoon hero Murdoc an omnipresent luminary on the animated backdrop throughout. Likewise the delectable “On Melancholy Hill” which arrives midset leading to a sea of arms swaying out front and to the sides in time to the music. And so the revelry continues, as esteemed rapper Yasiin Bey joins them for an energetic “Stylo” off 2010’s Plastic Beach and The Mountain‘s lead single “Damascus”, with fellow collaborator Omar Souleyman appearing on the giant screen behind the band.

The unmistakeable presence of Bootie Brown continues the party vibe with “Dirty Harry” before a quintet of songs off The Mountain either side of the the encore lead seamlessly into renditions of arguably their two biggest songs; “Feel Good Inc”, where De La Soul’s Posdnous instructs the crowd to make some noise before telling them they’re the loudest of the tour so far, and an elongated “Clint Eastwood” that switches from a dub heavy note-for-note rendition to the Ed Case Refix version on the b-side, dancehall legend Sweetie Irie taking centre stage and insisting the whole room jumps in unison (in which even those seated participated!).

As arena sized gigs go, it really doesn’t get much better than this. For a band that rarely tours - and understandably given the size and cost of the production - it’s an honour and a privilege to witness such a spectacular event.