Nadine Shah ignites Manchester’s New Century Hall [Show Review]

After discovering Nadine Shah way too late, supporting Depeche Mode earlier this year, I made a point of seeing one of her own gigs as soon as I could. Her support that night showcased just a handful of songs from her most recent Filthy Underneath album, but her short set was a breath-taking snapshot of an artist demanding to be seen at her full capacity.

Tonight’s gig at Manchester’s New Century Hall, which is fast becoming one of my favourite music venues, didn’t disappoint. It was a night of electrifying music that started with a unique set from Edinburgh’s Callum Easter. On record Callum is interesting and unusual, live he is something else. Armed with an accordion and an electronic box of tricks, his is an act that truly must be seen to be fully appreciated. Bathed in a blinding white beam of light from below, his appearance looks like a David Lynch Creation, and the whole affair does border on the surrealism of Eraserhead in tone, visuals, and style. Opening song, “Lonely World” is a slow burner, and each choice seems to build momentum.

Once joined by his drummer who pounds methodically alongside the wheezing accordion it all gets quite intense. I saw a comparison of Callum and Lou Reed online, but I really wasn’t getting that, I was hearing Kurt Weill and The Fall in there and even The Cramps in more frantic moments, but to try and find these likenesses kind of defies the point, he is resolutely unique and demands to be seen. He makes accordions cool. One of the most inspiring supports I have seen since… well Nadine Shah.

Having been unable to tour her previous album due to well documented mental health issues, this new release is given full exposure tonight with ten of the eleven tracks forming the backbone of the show. Sadly the omitted song “See My Girl” is one of the standouts in my opinion, with echoes of early Depeche Mode, making perfect sense of her support role for their Memento Mori Tour.

Starting with album openers, “Even Light” and “Topless Mother”, there is a sense she may already have peaked too soon. Both are absolute rabble rousers and have the (surprisingly mature) audience ecstatic. Nadine’s stage presence is incredible, and it is difficult to not become mesmerised by her movements. In a baggy silk suit and black boots, she flicks her legs and skips across the stage, waving her expressive hands like a marionette with electric strings. Her face switches from maximum intensity to an infectious natural smile in split seconds.

The album, much written in rehab, it must be said is excellent, one of those records that begs to be played on repeat, and despite the big radio favourites suggesting Nadine as a British Gaga, her repertoire is diverse and some of the quieter moments have just as much impact.

“Sad Lads Anonymous” is the anomaly of the album, and in no way is this a criticism. It’s a track that allows Nadine to speak in her native Geordie accent and is a snapshot poem of England in 2024. It also contains the line “Paintings are just currency, Pokemon cards for the rich to swap”, I love that. It’s a lyric that could have been penned by Sleaford Mods or Billy Nomates, but doesn’t feel out of place on the album.

The Goldfrapp-like “You Drive, I Shoot” is a metronomic exercise that whilst slower still has her fans jerking robotically throughout. “Fast Food” and “Ladies for Babies (Goats for Love)” hark back to earlier albums, but a return to the now with “Food for Fuel”, “Keeping Score” and the mystical “Twenty Things” burn along nicely, never once losing the mood.

“Hyperrealism” is another slight anomaly in its sophisticated production and Nadine’s almost jazz / chanteuse vocal, revealing a range that never seems to stop expanding.

Her signature, “Greatest Dancer” makes an appearance and injects a pumping energy into the crowd after a minor lull, its hi-energy with perfectly timed shouts piercing through the lyrics, and will surely be the track she is remembered for in years to come.

A short run of older tracks leads to the end of the show, and the Filthy Underneath closer, “French Exit” gets a complete makeover, becoming even more hypnotic than the recorded version.

Nadine tells us she doesn’t do encores as they’re “silly”, she probably has a point, and finishes on the demented “Out of the Way” from 2017’s Holiday Destination album. It’s a full on free for all, much heavier than the album version and Nadine lets loose shrieking the title wildly with fire in her eyes. It’s a spot-on finale to a performance that didn’t miss a beat all night.

Pick up your copy of Nadine’s album Filthy Underneath from her Official Website here.