London - O2 Brixton Academy (Oct. 11, 2022) post-show

Post your info and reviews related to this concert in the comments section below. Other links (photos, external reviews, etc.) related to this concert will also be compiled in this section as they are sent in.

Setlist:

How Soon Is Now? / We Hate It When Our Friends Become Successful / Our Frank / Knockabout World / First Of The Gang To Die / Irish Blood, English Heart / Shoplifters Of The World / Sure Enough, The Telephone Rings / Rebels Without Applause / I Am Veronica / Half A Person / My Hurling Days Are Done / Bonfire Of Teenagers / Everyday Is Like Sunday / Never Had No One Ever / Have-A-Go Merchant / The Loop / Please, Please, Please, Let Me Get What I Want / Jack The Ripper // Sweet And Tender Hooligan

Setlist courtesy of 'Buddy TC', @This Charming Bowie & @dneuer


 
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Morrissey has proven, and with a top degree of thundering suavity, that it pays to have an opinion despite what societal norms dictate.
Yeah, you're probably correct actually.
I suppose after four years of being called every name under the sun, and to have a seemingly endless conclave of cloth-eared clowns telling you that "you've tainted The Smiths for me", it must be very validating to be back among the adoring throng👍👍
Long live the King…..

People are for the most part redundant in their own thoughts and follow the media and what the media says must be the truth…… Little Bo Marr and his flock are the loving left that fit the 6 Music and Guardian crowd, they must be the future, surely?…… as the Italians say ‘prendiamo tutto con un pizzico di sale…..’
 
I see the bigger picture in all this.
I see a desperate man !!!! Out on his arse.

Look at the tell tail signs.

A sparse low budget stage set that will fit into a small trailer and hook onto the back of the tour bus. (7 lights, projector and a smoke machine)
The need to write SOLD OUT on every venue poster and post on social media.
Finally admitting to himself that he had no other option but to bring Alain back in to get the Lawnmower chugging again.
The Manchester gimmick song even though he‘s had 4ck all to do with Manchester for years.
He now arrives for performances on the tour bus because nobody will foot the bill for the limo’s anymore.
The selling of the signature.
More tatty crap merch than Camden market.
An L P that no label will invest in.
No bollocks when it comes to mentioning the death of Her Majesty or sing the Big Smith’s singy songy about her.
The introduction of the gimmick song in Manchester was a whispered one.

Its all smoke and mirrors, don’t be fooled.
He’s nothing but a CrankFraud walking in the rain just to get wet on purpose.

Luff n hugs to ya’ll

Benny 🇬🇧 :knife:

The only desperate man here is you, Benny.

Take comfort in your own self-repeat-machine delusion, spewing your spiteful bile….as it’s all you can do.

At least Skinny has kept his mouth shut in the threads celebrating this glorious homecoming tour.

Every person who has shared their experiences of attending these gigs has had nothing but praise; most stating that this is his best tour in years.

Every review of glowing.

The many videos shared are testament to this.

This has been Morrissey’s best tour in years & everybody knows it. Even you must know it, but you’re such a weak & petty excuse for a man that you’ll never admit it or do the decent thing & remain silent.

Morrissey is a legend loved by many.

You are a man on the internet who talks nonsense.

No wonder you’re not very happy.

All hail Morrissey & his continued success!
 
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it wouldnt surprise me if alain hasnt persuaded M to go down the self release route with regards to the new album.
Remember in the liner notes of the SouthPaw reissue where he said ‘Alain is always at his best when he’s sure nobody is looking……’ well, nobody was looking at Alain for a while and it did him the world of good because he’s been absolute dynamite and, dare I say without someone hurling a tomato at me, the perfect Marr teplacement Moz post Smiffs and the here and now Morrissey.
 
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It looked like it the was the Ride of the Valkyies segment from Apocalypse Now - but the video is on Youtube and it says it is made up of clips from Apocalyse Now and Full Metal Jacket. With Search and Destroy by the Stooges, of course.



And the other video was indeed Vince Taylor. The fading star 'messiah' who was probably one of the main inspirations for the character of Ziggy Stardust. This brief biography is well worth a watch...


Further, after investigation, yes: Search & Destroy / Stooges was used last night over the Apocalypse footage. The track had been used as audio only a few years back.
Thank you.
FWD.
 
Morrissey & rare Donnie sighting, leaving Brixton.

Courtesy of Vegan Andy.
FWD.
 
Nice review and beautiful pics here

 
Nice review and beautiful pics here

"Hateful of Hallow"? :rolleyes: Oh well.
 
Here's a (negative, basically) review of the show in the New Statesman, by Fergal Kinney. (Who is, according to his Twitter, quite excited by the prospect of his review getting slaughtered by people on here...You may or may not wish to give him that particular thrill.)

Full text:

It was London that Morrissey excelled in romanticising during the first two decades of his career – more so than his home city of Manchester. He lived round the corner from Alan Bennett in Camden, and on songs such as “Come Back to Camden” and “Hairdresser on Fire” used the city’s Victorian grandeur as a backdrop to his constantly reshuffled themes of isolation, sexual repression and English nostalgia.

On Tuesday night (11 October), the 5,000-capacity Brixton Academy is sold out, though the room is far smaller than the O2 Arena or Royal Albert Hall at which the singer – now primarily a resident of the US – has tended to play when he’s back in the capital.

In the past five years, Morrissey’s far-right sympathies – the subject of press speculation since at least the 1990s – passed beyond the border of plausible deniability, a border often busily patrolled by his fan base. He has voiced support for the minor right-wing groupuscule For Britain, which is led by the doomed Ukip leadership challenger Anne Marie Walters. The bewildering obscurity of his nationalist affiliations appears to be a point of pride.

“It’s very difficult to reconcile,” said Lottie, an 18-year-old English literature student from Colchester in the queue for the Brixton performance. “I don’t think he has said anything racist, I just think he has different opinions on national identity to everybody else, and I respect it. I don’t agree with it.”

Others are more strident. “Leave Morrissey alone!” Juliet, a Londoner in her late 50s, told me. “He’s a tender, kind guy. What he’s thinking about is the forgotten English people. It’s fine for us here, watching foreign films or going to foreign restaurants, but he’s defending them.”

Flanked by his five-piece band, Morrissey strides on to the stage in a black tuxedo with dickie bow and Royal British Legion poppy. “Welcome,” he said in an arch, ironic tone, “to an evening of free-form jazz and open debate.” His croon is still deep and rich, with enough technical ballast for material four decades old to land with its intended power, like the gothic bombast of opener “How Soon Is Now”. The past, in Morrissey’s art, is always the place to be, and fittingly tonight’s set is close to that of a heritage act. Three new songs aside, very little of the past 20 years of his career is showcased.

Though the singer was once a byword for a kind of literate, fey outsiderdom, much of this performance circles around another Morrissey trope: that of the tough, rough and misunderstood geezer. During the 1992 track “Jack the Ripper” (“this song reminds me of Pentonville Road”), he slashes the air with his microphone as he growls over a protagonist whose “face is as mean as your life has been”, while the greasy, glam stomp of “First of the Gang to Die” and closer “Sweet and Tender Hooligan” glorify this archetype.

This heavy machismo is underlined by the singer’s backdrop, a rotating slideshow of mostly male icons including Frank Sinatra and George Best, as well as pictures of Manchester terraced streets from the 1950s and 1960s, before subsequent developments – and, perhaps, demographic shifts (Morrissey has complained that “you’ll hear every accent under the sun apart from the British accent” on London’s streets). When women do appear on the backdrop, they are exclusively Coronation Street matriarchs.

“Many people are too polite or too British to talk about the subject of this next song,” warned Morrissey, as the venue audibly hushed, “but I’m not.”

“Bonfire of Teenagers” is a new and so far unreleased song about the 2017 Manchester Arena bombings. “All the morons sang ‘Don’t Look Back In Anger’,” intoned Morrissey of the impromptu singalong that defined Manchester’s public response to the attacks, “but I will look back in anger until the day I die.”

Morrissey has written about tragedies that have defined the north before – the first song he wrote with Johnny Marr was about the Moors murders, beginning a lineage that includes his 2004 song “Munich Air Disaster 1958”, referencing the Manchester United air disaster. Though he is at his most animated during “Bonfire of Teenagers” – finger-pointing and accusatory against the chilly piano accompaniment – its imagery of children saying goodbye, later “vapourised, vapourised” feels lumpen, in a song that is both slight and crass. “Go easy on the killer”, is its repeated refrain, vastly misaligned with real events. Given what we know about the singer’s political affiliations, there’s a sense too of a man pulling his punches, of implications he is not prepared to make explicit.

I do not think that the grieving people who sang “Don’t Look Back in Anger” in St Ann’s Square, Manchester after the bombing were morons. It was an expression of solidarity and resilience that did not obscure the tragedy but gave people a popular civic language to commemorate a horrific atrocity. Earlier this year, I watched Pet Shop Boys perform at Manchester Arena on the five-year anniversary of the attacks. Neil Tennant spoke in clear, certain terms about the attack being a “hate crime” and dedicated “Being Boring”, a gorgeous and mournful song about lives that do not get to grow old, to the 22 victims. That felt more affecting for the audience than “Bonfire of Teenagers” did last night, though the hall applauds as it ends.

“Please, Please, Please Let Me Get What I Want”, aired late in the set, is the Smiths classic that feels hard to dim even by association. The waltz’s grandiose melancholy terrifically betrays the Irish parentage of its two songwriters, Morrissey and Marr. Like so much British pop of the postwar period, it was the product of immigration and changing cities. That’s something its singer now wants to deny to future generations, happier instead to walk backwards into comforting, fanciful and false visions of a bygone England.
 
Translated from the French article - some images.

The years pass but Morrissey remains, like a monolith in our musical landscape, in the imposing shadow and imperturbable pace. The Englishman is this type of artist who has built his legend but has not given in like other big names in rock to the mania of slipping away in his prime. On the contrary, as if to confirm his reputation as a troublemaker, he has decided to grow old with us, while maintaining an incalculable number of followers, right in front of all the detractors who refuse to continue see in him the prose genius that has inspired so many generations of musicians.




FWD.
 
pic by @richardtrehy

Fe0lB0FWIAE9KcE
that's a nice Moz
 
Labelling First of the Gang as "heavy machismo" is a bit of an epic misreading! The journo has somehow missed the amusingly less than subtle camp undercurrent running through the song...

Not that Jack the Ripper or Hooligan are exactly examples of "heavy machismo" either. Jack being one of his greatest love songs, and Hooligan being entirely ironic!
 
Here's a (negative, basically) review of the show in the New Statesman, by Fergal Kinney. (Who is, according to his Twitter, quite excited by the prospect of his review getting slaughtered by people on here...You may or may not wish to give him that particular thrill.)

Full text:

It was London that Morrissey excelled in romanticising during the first two decades of his career – more so than his home city of Manchester. He lived round the corner from Alan Bennett in Camden, and on songs such as “Come Back to Camden” and “Hairdresser on Fire” used the city’s Victorian grandeur as a backdrop to his constantly reshuffled themes of isolation, sexual repression and English nostalgia.

On Tuesday night (11 October), the 5,000-capacity Brixton Academy is sold out, though the room is far smaller than the O2 Arena or Royal Albert Hall at which the singer – now primarily a resident of the US – has tended to play when he’s back in the capital.

In the past five years, Morrissey’s far-right sympathies – the subject of press speculation since at least the 1990s – passed beyond the border of plausible deniability, a border often busily patrolled by his fan base. He has voiced support for the minor right-wing groupuscule For Britain, which is led by the doomed Ukip leadership challenger Anne Marie Walters. The bewildering obscurity of his nationalist affiliations appears to be a point of pride.

“It’s very difficult to reconcile,” said Lottie, an 18-year-old English literature student from Colchester in the queue for the Brixton performance. “I don’t think he has said anything racist, I just think he has different opinions on national identity to everybody else, and I respect it. I don’t agree with it.”

Others are more strident. “Leave Morrissey alone!” Juliet, a Londoner in her late 50s, told me. “He’s a tender, kind guy. What he’s thinking about is the forgotten English people. It’s fine for us here, watching foreign films or going to foreign restaurants, but he’s defending them.”

Flanked by his five-piece band, Morrissey strides on to the stage in a black tuxedo with dickie bow and Royal British Legion poppy. “Welcome,” he said in an arch, ironic tone, “to an evening of free-form jazz and open debate.” His croon is still deep and rich, with enough technical ballast for material four decades old to land with its intended power, like the gothic bombast of opener “How Soon Is Now”. The past, in Morrissey’s art, is always the place to be, and fittingly tonight’s set is close to that of a heritage act. Three new songs aside, very little of the past 20 years of his career is showcased.

Though the singer was once a byword for a kind of literate, fey outsiderdom, much of this performance circles around another Morrissey trope: that of the tough, rough and misunderstood geezer. During the 1992 track “Jack the Ripper” (“this song reminds me of Pentonville Road”), he slashes the air with his microphone as he growls over a protagonist whose “face is as mean as your life has been”, while the greasy, glam stomp of “First of the Gang to Die” and closer “Sweet and Tender Hooligan” glorify this archetype.

This heavy machismo is underlined by the singer’s backdrop, a rotating slideshow of mostly male icons including Frank Sinatra and George Best, as well as pictures of Manchester terraced streets from the 1950s and 1960s, before subsequent developments – and, perhaps, demographic shifts (Morrissey has complained that “you’ll hear every accent under the sun apart from the British accent” on London’s streets). When women do appear on the backdrop, they are exclusively Coronation Street matriarchs.

“Many people are too polite or too British to talk about the subject of this next song,” warned Morrissey, as the venue audibly hushed, “but I’m not.”

“Bonfire of Teenagers” is a new and so far unreleased song about the 2017 Manchester Arena bombings. “All the morons sang ‘Don’t Look Back In Anger’,” intoned Morrissey of the impromptu singalong that defined Manchester’s public response to the attacks, “but I will look back in anger until the day I die.”

Morrissey has written about tragedies that have defined the north before – the first song he wrote with Johnny Marr was about the Moors murders, beginning a lineage that includes his 2004 song “Munich Air Disaster 1958”, referencing the Manchester United air disaster. Though he is at his most animated during “Bonfire of Teenagers” – finger-pointing and accusatory against the chilly piano accompaniment – its imagery of children saying goodbye, later “vapourised, vapourised” feels lumpen, in a song that is both slight and crass. “Go easy on the killer”, is its repeated refrain, vastly misaligned with real events. Given what we know about the singer’s political affiliations, there’s a sense too of a man pulling his punches, of implications he is not prepared to make explicit.

I do not think that the grieving people who sang “Don’t Look Back in Anger” in St Ann’s Square, Manchester after the bombing were morons.

I didn’t see people ‘sing and sway’ in the St Ann’s video coverage.

I believe Morrissey more likely wrote the song after seeing this event where people ‘mourners’ are actually singing and swaying …




I love how the camera at 2:18 zooms in and stays on the only person that actually looks like they are grieving, or she could just be having a bad acid trip, lol.


It was an expression of solidarity and resilience that did not obscure the tragedy but gave people a popular civic language to commemorate a horrific atrocity.

That may be, but I don’t hear that many singing at the St Ann’s Square, there seems to be confusion and awkward silence while the one person starts up the song and continues to sing. A male voice, obviously embarrassed by the situation pleads with and goads everyone on to join in and sing, a distant male voice yells out ‘we love Manchester’, to which people applaud.

 
Here's a (negative, basically) review of the show in the New Statesman, by Fergal Kinney. (Who is, according to his Twitter, quite excited by the prospect of his review getting slaughtered by people on here...You may or may not wish to give him that particular thrill.)

Full text:

It was London that Morrissey excelled in romanticising during the first two decades of his career – more so than his home city of Manchester. He lived round the corner from Alan Bennett in Camden, and on songs such as “Come Back to Camden” and “Hairdresser on Fire” used the city’s Victorian grandeur as a backdrop to his constantly reshuffled themes of isolation, sexual repression and English nostalgia.

On Tuesday night (11 October), the 5,000-capacity Brixton Academy is sold out, though the room is far smaller than the O2 Arena or Royal Albert Hall at which the singer – now primarily a resident of the US – has tended to play when he’s back in the capital.

In the past five years, Morrissey’s far-right sympathies – the subject of press speculation since at least the 1990s – passed beyond the border of plausible deniability, a border often busily patrolled by his fan base. He has voiced support for the minor right-wing groupuscule For Britain, which is led by the doomed Ukip leadership challenger Anne Marie Walters. The bewildering obscurity of his nationalist affiliations appears to be a point of pride.

“It’s very difficult to reconcile,” said Lottie, an 18-year-old English literature student from Colchester in the queue for the Brixton performance. “I don’t think he has said anything racist, I just think he has different opinions on national identity to everybody else, and I respect it. I don’t agree with it.”

Others are more strident. “Leave Morrissey alone!” Juliet, a Londoner in her late 50s, told me. “He’s a tender, kind guy. What he’s thinking about is the forgotten English people. It’s fine for us here, watching foreign films or going to foreign restaurants, but he’s defending them.”

Flanked by his five-piece band, Morrissey strides on to the stage in a black tuxedo with dickie bow and Royal British Legion poppy. “Welcome,” he said in an arch, ironic tone, “to an evening of free-form jazz and open debate.” His croon is still deep and rich, with enough technical ballast for material four decades old to land with its intended power, like the gothic bombast of opener “How Soon Is Now”. The past, in Morrissey’s art, is always the place to be, and fittingly tonight’s set is close to that of a heritage act. Three new songs aside, very little of the past 20 years of his career is showcased.

Though the singer was once a byword for a kind of literate, fey outsiderdom, much of this performance circles around another Morrissey trope: that of the tough, rough and misunderstood geezer. During the 1992 track “Jack the Ripper” (“this song reminds me of Pentonville Road”), he slashes the air with his microphone as he growls over a protagonist whose “face is as mean as your life has been”, while the greasy, glam stomp of “First of the Gang to Die” and closer “Sweet and Tender Hooligan” glorify this archetype.

This heavy machismo is underlined by the singer’s backdrop, a rotating slideshow of mostly male icons including Frank Sinatra and George Best, as well as pictures of Manchester terraced streets from the 1950s and 1960s, before subsequent developments – and, perhaps, demographic shifts (Morrissey has complained that “you’ll hear every accent under the sun apart from the British accent” on London’s streets). When women do appear on the backdrop, they are exclusively Coronation Street matriarchs.

“Many people are too polite or too British to talk about the subject of this next song,” warned Morrissey, as the venue audibly hushed, “but I’m not.”

“Bonfire of Teenagers” is a new and so far unreleased song about the 2017 Manchester Arena bombings. “All the morons sang ‘Don’t Look Back In Anger’,” intoned Morrissey of the impromptu singalong that defined Manchester’s public response to the attacks, “but I will look back in anger until the day I die.”

Morrissey has written about tragedies that have defined the north before – the first song he wrote with Johnny Marr was about the Moors murders, beginning a lineage that includes his 2004 song “Munich Air Disaster 1958”, referencing the Manchester United air disaster. Though he is at his most animated during “Bonfire of Teenagers” – finger-pointing and accusatory against the chilly piano accompaniment – its imagery of children saying goodbye, later “vapourised, vapourised” feels lumpen, in a song that is both slight and crass. “Go easy on the killer”, is its repeated refrain, vastly misaligned with real events. Given what we know about the singer’s political affiliations, there’s a sense too of a man pulling his punches, of implications he is not prepared to make explicit.

I do not think that the grieving people who sang “Don’t Look Back in Anger” in St Ann’s Square, Manchester after the bombing were morons. It was an expression of solidarity and resilience that did not obscure the tragedy but gave people a popular civic language to commemorate a horrific atrocity. Earlier this year, I watched Pet Shop Boys perform at Manchester Arena on the five-year anniversary of the attacks. Neil Tennant spoke in clear, certain terms about the attack being a “hate crime” and dedicated “Being Boring”, a gorgeous and mournful song about lives that do not get to grow old, to the 22 victims. That felt more affecting for the audience than “Bonfire of Teenagers” did last night, though the hall applauds as it ends.

“Please, Please, Please Let Me Get What I Want”, aired late in the set, is the Smiths classic that feels hard to dim even by association. The waltz’s grandiose melancholy terrifically betrays the Irish parentage of its two songwriters, Morrissey and Marr. Like so much British pop of the postwar period, it was the product of immigration and changing cities. That’s something its singer now wants to deny to future generations, happier instead to walk backwards into comforting, fanciful and false visions of a bygone England.
Sounds like he enjoyed The Smiths stuff - a bit like most punters who go and watch Morrissey do.... (And Johnny Marr for that matter.)
It seems like he didn't get press accreditation for the gig; I wonder if his review would have been slightly more positive if he had...
 

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