Be careful what you wish for, it may well come true. For literally years I have bemoaned that fact that the UK never seemed to succumb to the utter joy that is Volbeat. As they graduated to stadium and festivals headliner status on the continent, in this country it felt that they had become caught in a groundhog day loop of club gigs and mid-afternoon second stage slots at Download. Tonight, however, things may have finally changed. The Apollo is literally bursting out the seams and the entire tour has been sold out for months, so why oh why, do I have reservations?

I’m a massive self-confessed Metal snob and it is obvious from the moment that I walk in, that there has been a seismic shift in the audience. The hordes of unwashed anti-social metalheads, clad in t-shirts adorned with unreadable logos, have been replaced with Planet Rock listening dads, sporting ASDA bought AC/DC merch or (horror upon horror) checked shirts. Volbeat have been discovered by the classic rock one-gig-a-year brigade and, frankly, I need to get over myself that a band I once had more or less to myself is now communal property.

When I arrive Baroness are doing a grand job soundtracking the sizable bar queues. Like the headliner, they are also a band in mid-metamorphosis. In Baroness’ case they are shifting from being scuzzy underground heroes to a mainstream proposition and, like Mastodon before them, they are trying to achieve this without losing any of their street credibility. They certainly have the songs to seal the deal. Their latest album “Gold & Grey” is stunning and full to the brim with the most groovy and accessible stuff they have ever produced. Mid-set, we get an uninterrupted consecutive run of five tracks from the new record and they are all nothing short of bloody brilliant. Previously Baroness material had a tendency to meander and get lost in its own cul-de-sacs of twisting chugging heavy prog. The new stuff is shorter, sharper and much more direct. Songs like 'Throw Me An Anchor' and 'Front Toward Enemy' are full of bounce and vitality. The sludge and distortion that gave the “Red” and “Blue” records their distinctive sound has been replaced with harmonies and polished production. John Baizley has also relaxed into his role as frontman and manages to skilfully merge a commanding presence with a laid back and informal approach. It is obvious that the crowd are unfamiliar with them, but by the end of their fifty minute stint they have won over a sizable chunk of those who had been intent on chatting to their mates through the entire set. They have the connection and they now have the songs, it really can’t be long until they are headlining venues like this for themselves.   

The dual intro of Motorhead and Nick Cave perfectly sets out Volbeat’s stall as they are the missing link between the two. This is Metal, but in a sharp suit and with a gunner fighter swagger. As I said above, they are no longer a hidden gem and have (finally) been embraced by the mainstream. Even with the beauty of Spotify, this mean that the reception to tracks is uneven to say the least. Stuff from the new album (which in my opinion is sadly quite patchy) and “Seal the Deal & Let’s Boogie” is greeted with great gusto and three thousand voices screaming along in unison. The number of those bellowing the lyrics back at Michael Poulsen reduces by half when we get to stuff off “Outlaw Gentlemen & Shady Ladies” and plummets off a virtual cliff when we arrive at songs from the four previous releases. It is great that stuff like ‘Fallen' and 'Still Counting' is still in the set, it is just obvious where most of the crowd’s relationship with the band begins.

But, I really should stop whinging, as musically and performance wise they tighter than a nat’s arse. Volbeat have become a slick metal(ish) monster that put Metallica to shame in terms of production values and showmanship. Michael, Jon and Rob weave in and out of each, swapping places and licks with ease. It is hard now to imagine that there was actually a time when Rob Caggiano wasn’t in the band, as he has become such an essential part of their set up. Aside from an unscripted and unfunny quip about the fact that Manchester should be called Womanchester, this is a well-rehearsed and highly choreographed rock show delivered by consummate professionals. The rawness and danger of yesteryear has gone, but you will not find a more enjoyable piece of singalongable rock n’ roll theatre than Volbeat belting out 'The Devil’s Bleeding Crown’. It also marks the beginning of a frankly bloated five song encore. As I keep stressing Michael is an extraordinarily charismatic frontman and he knows exactly which buttons to press in order to expertly build the expectation and the delirium. It all reaches a climax with 'Still Counting' and a surprise appearance by “Rewind, Replay, Rebound”s young cover star, this is the cue for all the kids in the auditorium to be invited on stage and Volbeat’s conversion into purveyors of wholesome family entertainment is complete.

There will be those who read this review and quizzically ask “but did he like it?” The answer is I loved it, it’s Volbeat and they never give less than six hundred and sixty six percent. But there is a part of me that unreasonably and utterly selfishly still hankers after the days of half empty clubs when it felt like I was the only one in on the biggest secret in town.