Phil Wolvin 
I hold these truths to be self-evident. Music mends my soul. Music performed live has a power beyond the record to lift you. Music shared with friends or someone special elevates the experience. Music becomes the soundtrack to life’s highs and lows. Hearing a particular piece can transport you to a moment in time. It is threaded into our existence and forms the records you return to repeatedly.
I admit to listening to playlists too often, picking favorites from a musical buffet. Moving beyond a stream of hits used and discarded or treasured individually reveals albums as more than their parts. When crafted well, an album is a cohesive body of work with a flow that stands out against single-track listening.
I attended two album anniversary gigs this autumn, each among the best shows of the year. For bands, marking the anniversary of an album that defined them is an opportunity to present their work fully. In today’s climate, with artist revenues under pressure, every chance to connect with fans counts.
Is it worth attending? For invested fans, absolutely. These shows let you hear the cherished tracks as the artist intended, experiencing the signature sound and the flow from one song to the next. Casual listeners may not feel the full impact, but devoted fans can enjoy a uniquely rewarding experience.
First, on the last Saturday of November, Everything Everything celebrated their third album Get To Heaven. This was my first visit to Aviva (formerly Granada) Studios. After a quick security check, the packed lobby revealed merch, bars, and facilities. The directions were unclear, but once upstairs, the scale of the venue was impressive. The hall resembles the hangars once used to assemble NASA rockets. Designed for TV production, it produced a fantastic soundscape. I experienced the show without hearing protection and felt no strain.
The setlist was adjusted to place the big tracks later, enhancing the experience. The album opener To The Blade began with Higgs’ vocals backed by 2,000 fans, creating a powerful moment. Blast Doors was played earlier than expected, while the second disc of the deluxe album featured President Heartbeat and Hapsburg Lippp. The show moved quickly, and the amount of music felt substantial yet cohesive.
The devotion of fans was evident. After the first encore, the band hinted that “something special” could happen if enough noise was made. Two young American fans had traveled to Manchester for the first time. One proposed to the other on bended knee, and it was accepted. The moment highlighted the emotional power of music and created lasting memories for the couple.
No Reptiles was immense. The intro was simple yet distinctive, followed by rapid-fire lyrics and sharp political commentary. The song built to a soaring crescendo, delivering a euphoric release with “just give me this one night…”.
The album was created in varied locations amid global and domestic unrest, from ISIS conflicts to UK political turbulence and EU referendum debates. These influences shaped a body of work with unique energy and urgency.
Singles like No Reptiles, Distant Past, and Spring/Sun/Winter/Dread are likely the most remembered, but the full album deserves attention. Experiencing it live demonstrates the depth and quality of the work.
Fast forward a few weeks to a mild Saturday before Christmas, Manchester offered a packed music schedule. While other options included Underworld, The Inspiral Carpets, 808 State, and Stereo MCs, I attended The Slow Readers Club celebrating the 10th anniversary of their second album Cavalcade. Manchester Academy provided a familiar, ideal setting for this indie-focused performance.
The band took the stage individually to applause. New visuals mirrored the album’s palette. They launched straight into Start Again and performed the album start to finish with complete fidelity. The album maintained high quality throughout, avoiding the typical second-album slump.
Similarities with the Everything Everything show were clear. Both bands performed at the top of their game, with thousands of fans singing along. Energy remained high throughout, creating an immersive experience.
Early singles dominated the set, with five of the first six songs released individually. Quality remained consistent through album tracks, which could stand alone as singles. James Ryan’s bass lines drove songs reminiscent of New Order, while Aaron Starkie excelled vocally and on keyboards, complemented by the rest of the band.
Highlights included Plant the Seed, the song that initially drew me to the band, along with Fool For Your Philosophy and Here in the Hollow. Each could easily have been released as a single.
If I could relive gigs, these two would top the list. Both bands delivered unforgettable performances, and their music will remain with me for life.
Colin