I’ve not reviewed a gig at the Liverpool O2 Academy before, even though I’ve been many a time as a punter, so as we climb the never-ending staircase I feel like I’m taking in everything new and afresh. In fact that’s an experience we’re all still coming across as we venture to more and more gigs following the return to live music with the reduction in restrictions from the pandemic. I honestly didn’t know if I’d get to see Killing Joke live every again in all honesty, so I’m eager and excited to be at a gig for one of my favourite bands ever.

Before we get to savour their splendour, we are afforded the opportunity to take in support band The Imbeciles. They take to the stage and I think it’s fair to say they don’t have a cohesive look – a rag-tag crew of different characters each giving off a markedly different vibe. It’s perfect for their punk rock’n’roll offering to be honest. I’d describe it as Kula Shaker jamming with The Rolling Stones, and it’s fun, gentle and eminently toe-tapping. There’s no doubting of course that their slot on this tour is because Killing Joke’s very own Youth co-wrote and played bass on the songs for their new album “Imbecilica”, and when they get it right they’re an interesting offering. The crowd is still very thin on the ground at this point, and those who are here don’t seem that interested, but the last couple of songs really do show something intriguing, with elements of bands like Secret Machines, Gay Dad and dare I say Marillion shining through.

Johann and I venture back out to the bar, dramatically behind the curtains, and chat away happily. Before we know it, it’s time for Killing Joke and Johann dashes down to the pit to grab photos while I move to the side-bar in the gig hall itself to get more drinks and meet him further forward. Or that was the plan. Without us noticing it’s completely filled-up since the support band finished, and there’s no chance I’ll make it any further forward than the bar…shame then not to have a few more! Even waiting to be served can’t stop me from going delirious as Killing Joke walk on stage and immediately dive into ‘Love Like Blood’. There’s no argument to be had that it’s one of the best songs ever written and they perform it flawlessly tonight. I dance energetically and extravagantly (Stewart would be proud!) as I buy our drinks and keep on throwing shapes in raw delight as the legends wheel out three more of my favourites in ‘Wardance’, ‘The Fall of Because’ and ‘I Am the Virus’. It’s at this point that I look around the room and see that most people simply aren’t reacting at all – no dancing, no heads bobbing, maybe they’re transfixed. It’s bewildering though as I have to say this is one of the best performances by Killing Joke I’ve seen for many a time, and in particular Jaz Coleman’s voice is stupendous on this occasion. Youth swings his bass and powers through the songs with a thundering dominance, ably supported as ever by the punctuating structural drumming of Paul Ferguson. Geordie weaves his hands and fingers over the guitar as he almost laconically delivers each classic riff one after the other, the unique angular guitar tone and delivery perfect as always. As I noted though Jaz Coleman is at his very best on this occasion, not only with the grandiose larger than life character of the on-stage performance artist, complete with arms outstretched and dynamic facial expressions, but also tonight the powerful note perfect and emotive vocals. ‘The Death & Resurrection Show’ and ‘Total Invasion’ are further highlights, before a triumphant closing ‘Pandemonium’. I’m still dancing and grinning long after the band have left the stage and we end up being ushered out by the stewards. You know it’s been a great gig when you simply don’t want to leave.