Last night, American duo The Black Keys graced the fine people of Manchester with irresistible rockand bluesy ballads at the AO Arena and it was nothing short of phenomenal, showcasing the exceptional talent that’s made them one of the most prolific bands of the last two decades.
Their ‘Dropout Boogie Tour’ was supported by fellow rockers Spoon and found them in the UK for a limited run of just three shows, London, Glasgow and, of course, Manchester. This was all on the back of their latest album release in 2022, which gained modest reviews.
Whatever you made of their last record, there isn’t much you can question about their live performance. Straight from the go, the show was electrifying, with the opening song ‘I Got Mine’ leaving the crowd screaming for more — I was definitely one of them.
The Black Keys brought a slice of that quintessential southern American blues-rock to the AO on Thursday night, taking us on a real sonic journey, weaving through different styles and more rock and roll sounds to those deeper, swampy tones that we’ve explored throughout their decorated career.
Their retro-inspired sound harkened back to a golden era of American music as they even covered some proper classics like ‘Crawling King Snake’ by delta-blues singer, Big Joe Williams, as well as ‘Have Love, Will Travel’ — which may only rattle around in your head has an advert song, but was originally recorded all the way back in 1959 by R&B singer, Richard Berry.
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They really leaned into those unmistakable bluesy, rock and roll roots and it really paid off because the whole vibe and reaction from the crowd was absolutely infectious.
The guitar mastery and soulful vocals displayed by lead singer, Dan Auerbach, were nothing short of awe-inspiring, but towards the final few songs he had to cut one short to call out, as Dan called him, a “beefcake”, that was being aggressive, pushy and putting a general “negative energy”.
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Dan said he’s not about that and neither are we or any of the Mancs who went along to watch, and he was met with rapturous applause when he declared: “That’s not how we do it at a rock and roll show”. Big respect to him for that.
By the time the encore came around, there was a single person not up on their feet and partying. They began with their 2011 track, ‘Little Black Submarine’ — which seemed ominously fitting considering the latest news headlines — starting slow but ending heavy and leading perfectly into the final jam and iconic hit, ‘Lonely Boy’.
It was obviously always going to end like that, being their most popular song, and for good reason. The show had already reached a euphoric climax which meant everyone was dancing and singing their hearts out. By the time the song finished, I truly wished I could’ve done it all over again.
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What a gig and what a night. It was truly an unforgettable experience that will be etched in my mind forever. The night wasn’t over for everyone, though, as the band actually headed to YES for their popular record hang after-party, where they DJ’d on vinyl into the early hours of the morning.
Sadly, for us, it was bedtime — some of us have work in the morning and we’d already partied plenty all night long. We will most definitely be seeing The Black Keys again the next time they’re in Manchester.
Featured Image — The Manc Group/The Black Keys (via Instagram)
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Tame Impala at Co-op Live, Manchester – lasers, lights, and a bit of a hangover
Daisy Jackson
The coolest man in the southern hemisphere has finally made his way back up north, for his first Manchester gig in a decade.
That cool man in question is Tame Impala, the music project of what-the-hell-can’t-he-play multi-instrumentalist Kevin Parker.
Sure, last year’s single release ‘Dracula’, and then its remix re-release with K-pop megastar Jennie, may have propelled Tame Impala up towards the top of the UK singles chart for the first time, but he’s got almost two decades-worth of music to dig through beyond that too.
It’s a hefty discography and it leads to a setlist that seems to almost peak about six times.
‘How could it possibly get better than this?’ we seem to ask as he plays The Moment, Elephant, Dracula, and Let It Happen pretty early on – but better it does indeed get.
It doesn’t seem to matter whether he’s up on the main space-ship-esque stage surrounded by lasers and lights, or sat on the floor of the B Stage playing around with a keyboard, Tame Impala has an irresistible, enchanting charisma. A lot more charisma that you’d expect from a man called Kevin.
Early on, he confesses that he’s quite severely hungover from last night’s show, where he had Dua Lipa (he wrote and produced her Radical Optimism album) as a surprise guest.
But you can see the hangover clear from his eyes in real time as 23,500 Mancs scream in his face. Which might not sound like a likely hangover cure, but who am I to argue with the evidence in front of me?
Although Kevin writes, produces, and records his music solo, he’s got half a dozen musicians up on the main stage with him, which looks like a convoluted space ship that fires confetti out of its thrusters (FOUR TIMES!).
With revolving lights, dancing lasers, and a metal grid base spewing out dry ice, it’s really one hell of a production.
It’s a light show designed to give us all a glimpse of his synesthesia (meaning he sees colours when he hears music (Billie Eilish has it too)) – essentially, if you couldn’t hear a thing and could only see the stage, you can still tell exactly what song is playing.
Still, when he saunters straight through the crowd to his smaller stage to mix tracks solo – no lasers, just a few lamps – flopping down onto a tangle of wires like a mad magpie building himself a nest, it’s a chance to remember this guy’s composing prowess.
A lot of the songs performed tonight are almost orchestral in their complexity, so that the whole show merges into one thundering, bewitching night of dancing and being blasted in the face by confetti.
It’s genius.
So can you not leave it another decade before you come back, Kevin?
Kahiki Soundhouse – the new Mint Lounge site is living up to the old name and its live music legacy
Danny Jones
If you went out in town back in the day (pretty much any time from the late 90s to the 2010s), or indeed have sampled a Funkdemia over the past couple of decades, chances are you tried or at least heard of Mint Lounge – but did you know it’s been replaced by a new kid on the block, Kahiki?
Kahiki Soundhouse, to give it its full name, is the new live music venue bar that has opened up the old basement space on Oldham Street in the Northern Quarter.
In truth, it’s now more of a classic lounge than ever before.
The large open-plan floor, which used to be filled with people standing/two-stepping inside a fairly barebones club room with no air conditioning, has now been traded up for a stylish space lined with plush padded seats, classy low-lit tables perfect to share a glass or two over, and lots of new features.
Perhaps the biggest change is that the old soundbooth/stage area that used to be way at the back has now been swapped for a central 360° podium that changes up each night.
It really is the star of the all-week-round Kahiki show, if you ask us.
This also means that no matter where you are in the main venue (there are other rooms, but we’ll get to that), be it tucked in a booth to the side, at the bar, or even ‘behind’ whoever’s playing, you’ll have a virtually unobstructed view of what’s happening from noon until night.
Seriously, thanks to their already jam-packed schedule, the reviews aren’t just off to a great start only a few days in, but people have been turning up in the early evening and staying well into the early hours of the next day.
They’ve got duelling pianos, live bandaoke, acoustic nights and straightforward DJ sets for those who still fancy a taste of the previous vibe.
Kahiki’s maiden Manchester city centre venue definitely harks back to the good times had in the Mint Lounge days, but the team, who possess decades of experience between them, have combined a retro feel almost more akin to 1960s speakeasies, cocktails and evening venues.
It’s no secret that clubbing and the UK nightlife scene have changed quite a bit since the pandemic, but these guys look to have found that perfect blend of more relaxed seating, along with plenty of room to get up and boogie; there’s even a raised mini-stage/dance cage for your main character moments.
Better still, if you do want something a little bit away from the crowds of punters that are continuing to make this one of the liveliest new additions to NQ, they also have adjustable karaoke rooms where bi-folding doors can make room for up to 50 of you and your lot to party in privacy.
Let’s just say the spirit of the Lounge is alive and well in the Soundhouse.
Just one corner of KahikiYour podium awaitsOne of the smaller karaoke rooms
Dean Hadcock -
23rd June 2023 
