It’s time for me to hit a new venue, as I’ve never stepped foot in Manchester’s Albert Hall before. We get to the entrance queue, and to say it’s insanely long would be an understatement. Fortunately, I can get in and up the stairs as Northlane start-up with opener ‘Clarity’. They are bouncy and energetic from the start with their futuristic look, lighting and vibe, and are a band that has evolved an awful lot over the years. With the last two albums, “Obsidian” and “Alien”, you can see the greater electronic influence, and opportunity to further afford vocalist Marcus Bridge to establish his soaring clean vocals and raw screams.They now have a unique and distinct sound, especially within the tech-metalcore scene, and you might even go as far as to call them djent-dance.

Guitarist Jon Deiley has always caught my attention, who I believe to be one of the most well-rounded and complete musicians in modern metal, and is one of my favourite guitarists to watch live. Tonight he plays with live sequencers and sample pads as well as his guitar, which provide the bass live, and if anything it makes him more entertaining and theatrical to watch.His futuristic posturing aligning to their heavily processed but brutal sound. There’s the dynamic mix of reserved, atmospheric segments juxtaposed with churning, chaotic tech-metal onslaughts. Furious drums, electronic bass thundering, precise processed angular guitar, and perfectly placed live sequencing. They play a good variety of songs from the most recent two albums (plus the crowd favourite ‘Quantum Flux’), and it’s a real treat to finally hear tracks off the last album performed live. The venue is packed and engaged in every second of every beat and guitar strike, and the band seem genuinely delighted at the reception and emotion they’ve got back from the crowd tonight.

Northlane at the Albert Hall in Manchester on January 19th 2023

Sleep Token are experts at building tension and whipping the crowd into an expectant frenzy, both during songs and also waiting for them to take to the stage. There’s often a distinct feeling that you’re actually at a religious cult event with stage setups sometimes involving atmospheric elements such ascandles (and the band referring to their gigs as ‘rituals’), but tonight some palm trees and a couple of levels are all to set the scene. Despite the empty stage feeling a bit like a hotel lobby then, there’s still masses of atmosphere and palpable anticipation in the crowd. The band take to the stage one by one, each amasked mysterious figure, as singer Vessel starts opener and new track ‘Chokehold’ with his soulful vocals. The opener is followed by another new track, ‘The Summoning’, which between them sees a hard-hitting start which also demonstrates their musical diversity and unique sound. Like many of their tracks they build delightfully from crooning, atmospheric gentle beginnings to a crescendo of forceful, crushing yet soulful heaviness. Musically, they are meticulous in every element of their performance which allows the minimalist segments, delicate, intricate and effortlessly layered like some of the best Depeche Mode tracks, to sit alongside heavy tech-metal segments. Sweeping, mournful melodies sit alongside hypnotic churning segments similar to Nine Inch Nails.

The crowd are a mix of people nodding, dancing and moshing, and even though there is a three-person masked background choir on stage (who have to stand perfectly still without break all the way through the set), everyone is lending their voice in support of almost every lyric. They can’t drown out front-man Vessel, who delivers everything with deliberate, emotive detail and fragile confidence, mashing together jerking malformed movements with powerful swagger. His awe-inspiring vocals captivate, demonstrating warm, velvety tones one minute, then switching to fragile falsetto, before becoming brutal and forceful. Throughout they remain superb and retain individualistic character, both leading and aiding in thejuxtaposed dynamics of each song. The vulnerability of the melodies and his voice at the same time can be disconcerting and emotional.

Interludes every few songs allow for an auditory palette cleanse, and it’s worth paying a word to the lighting show too, as it matches the tone, vibe and as required in time with the violent musical hits perfectly. Those songs that embrace a more traditional prog or tech-metal aspect are luscious in their use of passionate almost gravelly vocals alongside crisp staccato snare hits, deep rumbling bass and gnawing guitar. The drumming throughout is stunning with obvious jazz influenced skill, seeing syncopated intricate segments playing out alongside some powerful hitting and riding. The encore sees Vessel return to the stage with a curiously ornate staff, delivering a heartfelt ‘The Night Does Not Belong to God’, before final song and crowd favourite ‘The Offering’ sends us off into the night delighted.