The Blow Monkeys, Birdsong Tour, Stoller Hall, Manchester,

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Stoller Hall, Manchester, 11th October 2026

WORDS PAUL EVANS / IMAGES PAUL EVANS

The Blow Monkeys, Birdsong Tour, Stoller Hall, Manchester,

There are bands you grow up listening to, bands you rediscover years later, and bands that leave you wondering why the hell more people aren't talking about them. The Blow Monkeys have always been all three for me. Arriving in the eighties armed with sharp suits, sophisticated pop-soul and a frontman with considerably more on his mind than appearing on the cover of Smash Hits, they stood apart from many of their contemporaries. While others were busy soundtracking the decade's excesses, Dr Robert and his band had the tunes, the attitude and, crucially, something to say. Politics, social injustice and sexual freedom have been woven into The Blow Monkeys' DNA from the beginning.

Across four decades, the bands songs might make you dance, but there's usually something more going on beneath the surface and I've always loved bands that refuse to leave their principles at the stage door. Tonight, Manchester feels like the perfect place to hear them. This is a city whose musical identity has been shaped as much by cultural rebellion as by the records that have emerged from it. From the ghosts of Peterloo to its long tradition of independent music, Manchester has never been short of reasons to challenge the status quo. There's a history here of artists refusing to separate their music from the world outside, and tonight, The Blow Monkeys feel entirely at home.

Outside the glorious Stoller Hall, Autumn is finally arriving. Inside, it’s an intimate setting ready to celebrate Birdsong, the band's latest album, and their rich 40-year back catalogue. Beneath infectious grooves and Dr Robert's unmistakable presence lies a band with a distinctive identity and the musical firepower to make it count. Re-uniting the near-original line-up of Dr Robert (vocals), Neville Henry (saxophone) and Mick Anker (bass), alongside Crispin Taylor on drums tonight captures the chemistry that has long defined The Blow Monkeys' sound.

Opening with 'Wicked Ways', the band establish the evening's atmosphere, bringing soulful sophistication and attitude into focus from the off. What an opener it is. There's a stunning confidence about the performance that comes from musicians who have no need to dress their sound up in unnecessary theatrics. Dr Robert remains the centre of attention, his distinctive voice carrying that familiar mixture of soulfulness, dry wit and barely concealed impatience with the world around him. Wicked Ways has serious substance beneath its surface, and I've always liked the fact The Blow Monkeys sound effortlessly stylish without ever feeling lightweight. 'Birdsong', is played to full on 70s funk perfection and I mean full on. It’s no mean feat from a four piece to get this sound and it’s also tonight’s first fitting reminder that The Blow Monkeys story never ended with the exceptional ‘Animal Magic ‘album.

The Blow Monkeys have never been a band that fit neatly into one musical box; they can be thoughtful without becoming ponderous, musically sophisticated without losing the ability to get a room moving and politically direct without sacrificing subtlety. The Blow Monkeys were always the thinking person's pop group. At a time when plenty of mainstream acts seemed content to keep their heads down, they were prepared to use their platform to challenge prejudice and question those in power. The left-of-centre outlook never seemed merely an accessory to the band's image and seemed woven into the music, giving their songs a purpose beyond commercial success.

Tonight, 'Celebrate (The Day After You)' feels almost offensively relevant in the current political climate. Originally a duet with the legendary Curtis Mayfield, the songs opening line, “Well now, everybody says this country's in a mess”, lands with the sort of familiarity that makes you wonder whether anything has really changed in the last 30 odd years. Tonight the songs political message is as sharp as ever, but it's the funk that really gets under my skin. It’s perfect funk, with the kind of deep, driving groove that make it impossible not to move to. There's a glorious sense of purpose in its performance and it gives Mayfield's own 'If There's a Hell Below, We're All Going to Go' a real run for its money. That's no small comparison. Mayfield's original remains a ferocious statement, but tonight The Blow Monkeys deliver a performance of 'Celebrate (The Day After You)' that captures that same combination of righteous anger and irresistible rhythm. Mayfield understood that a groove could carry a message as effectively as any speech, and The Blow Monkeys clearly share that conviction.

To me, The Blow Monkeys never seemed especially interested in being everybody's favourite band if the price of popularity is keeping quiet about injustice. Tonight, 'Celebrate (The Day After You)' is a reminder of why that matters and that there’s nothing wrong with wanting songs to challenge the world and wanting them to make you dance at the same time. If anything, the best music manages to do both and tonight, 'Celebrate (The Day After You)' does just that and is exceptional.

Political fire gives way to one of the band's most enduring pop moments in 'It Doesn't Have to Be This Way'. The song's sophisticated arrangement and instantly recognisable melody losing none of their appeal. The crowd are now all on their feet, dancing and properly enjoying themselves. It's a brilliant moment; the room is suddenly united by a song that still sounds fantastic after 40 years. The Blow Monkeys' viewpoints matter, but so too does the sheer enjoyment of the music. 'Choice?' reinforces the sense that this is a band with a much wider story to tell than their mid-80s hits alone can provide before 'Time Storm' and 'You Don't Own Me' take us to more reflective territory. The contrast works well, giving the music room to breathe between the bigger moments allowing songs to sit alongside one another naturally, giving the less familiar material room to make its own impression.

The message of 'You Don't Own Me', the Lesley Gore classic, is obvious and tonight in the hands of a band that has consistently defended individual freedom it’s gloriously played. There's a looseness to it rather than it feeling like a carefully packaged exercise in remembering the eighties. The song does the talking, while the band provide the chemistry of long-standing collaborators. Dr Robert remains the unmistakable centre of gravity. His distinctive voice carrying a mixture of soulful weariness and dry wit across the venue. There's no desperate attempt to recreate the past. Instead, the band bring the confidence of musicians who know their strengths, understand their history and have no intention of being confined by it.

'Digging Your Scene' remains a particularly important part of the band’s legacy , not only because it was one of their biggest hits, but because of its association with the defence of the gay community way back in 1986. Tonight, the song's brilliance lies in the way its message sits within such a perfectly played irresistible arrangement and for me, is one of the reasons The Blow Monkeys deserve more credit than simply being filed away under 'eighties favourites'. 'Wait' brings the main set nearer to its conclusion and it’s a gloriously played reminder of those halcyon late 90s days. The crowd are on their feet again and I'm struck by how naturally the band's different musical personalities fit together. The thoughtful atmosphere of the Birdsong material, the sophistication of the familiar singles and the sharper edge of the political songs all belong to the same stunning world.

A fitting way to bring the evening full circle is with the Curtis Mayfield classic 'Superfly'. Mayfield's influence has been evident throughout the night and 'Superfly' makes this connection unmistakable. Mayfield was one of those rare musicians who could make social commentary sound utterly natural within a song. His work never treated the groove as something separate from the message. The Blow Monkeys clearly understand that tradition, and 'Superfly' is a spectacular final nod to one of the artists whose work helped establish the possibilities of socially conscious popular music. It is a stunning conclusion to an evening that has consistently resisted the temptation to turn history into a museum exhibit.

Tonight, has delivered sophisticated funk, irresistible soul, moments of reflective beauty and melodies that will stay with me long after leaving Stoller Hall. It’s been a magnificent celebration of The Blow Monkeys as they are now, rather than simply a trip back to where they began. They’ve been in exceptional form, blending the richness of soul and funk with the intelligence and sharp perspective that have always set them apart. The melodies have been sublime, the grooves impossible to resist, and the songs have offered far more than a fleeting moment of entertainment. Walking away from Stoller Hall, I’m left with the feeling that tonight has been about more than revisiting music I know and love. It’s been a reminder of why I value bands with something meaningful to say, and why The Blow Monkeys deserve far greater recognition than they received. They remain a formidable band and when their groove is this good, their messages become all the harder to ignore. Nearly four decades after their commercial breakthrough The Blow Monkeys tonight have still sounded like a band with unfinished business. Long may that continue.