Live Review: Morrissey

As Morrissey breezes through Shoplifters Of The World Unite (the first of a generous smattering of songs by The Smiths to be included in tonight's setlist, much to the delight of fans) it's immediately established that the godfather of gloom's glorious pipes have been well maintained. The no-filming rule is militantly enforced in the balcony, as ushers constantly reach over and wave their hands in front of punters' smartphones. Other seated patrons shield their eyes from the bright lights flashing from the stage at regular intervals, which suggests what we already know: Morrissey fans are getting long in the tooth.

Every Day Is Like Sunday sees heads swaying and psyches swooning. Morrissey's lyrics pop due to his exceptional diction and the sound tech achieves excellent balance, which makes November Spawned A Monster harrowing to digest live. No one does disdain quite like Morrissey. Bassist Gary Day lurches left to right with much swag and who needs an elaborate stage set when you've got this colossal drum kit? There are Australian-themed double kick drum skins – a variation on our coat of arms: emu and kangaroo with soccer ball in lieu of shield in between. The arrangement of a standout, extended version of How Soon Is Now is striking and the hall erupts in an unchecked display of appreciation. The drummer pelts the shit outta what must be the biggest tom in the world, which is also illuminated from within somehow, to close out Speedway. 

The visuals illustrating Meat Is Murder were never gonna be comfortable to watch, but some of the footage of chicken farms is so disturbing that it sends weak-stomached audience members scurrying from the auditorium. This scribe averts eyes from the screen several times and vows to become a vegetarian. Morrissey achieves what he intended here. Of his new material, I'm Throwing My Arms Around Paris is particularly well received and Morrissey's grand gestures are perfect embellishments.

Longtime Morrissey co-writer/guitarist/musical director Boz Boorer changes up instruments after just about every song. He requires his own tech to help him strap on given that one arm is in a sling. This physical impairment doesn't affect his playing one iota, however. Ouija Board Ouija Board is a welcome addition with a keys outro that positively shimmers. During Let Me Kiss You, Morrissey rips off his own shirt while singing “someone who you physically despise”, but obviously doesn't despise his naked torso too much since this isn't the only portion of tonight's show where he winds up topless (let's just say he looks good for his age, but not exactly buff). He then exits the stage, returning sporting a flattering and stylish long-sleeved black shirt. Ah, that's much better: The singer looks svelte with his gear on.

The segment during which Morrissey presents the mic to individual audience members for spontaneous testimonials is beyond lame. And of course those singled out sing his praises, while Morrissey acts chuffed, panto-style. There's a lot of stage invading as well, which Morrissey welcomes. Playing saviour, he plucks various 'chosen ones' from the crammed front section. A crazy loon, with greasy hair and not enough clothes on, somehow clambers on stage during Sweet And Tender Hooligan – security!

“You will never see the one you love again” may prove closer to the truth than some Mozza tragics may care to admit. Morrissey's outburst of lamentation lasts for an hour and a half, and being part of his congregation is surprisingly therapeutic.