A 1930's art deco theatre, Manchester's O2 Apollo isn't the first place you'd think of for a rave. But then, Moby probably isn't the first you'd associate with rave culture either. But when he released in 1999, EDM was cresting a wave in the UK, the likes of The Chemical Brothers, Fatboy Slim and , rising from clandestine gatherings in warehouses, clubs and fields to a chart-topping, Glastonbury headlining phenomenon.
added Moby to that illustrious pantheon and also helped shift the perception of the music from ultra-intense techno beats to something that could be elegiac...
and still fill dancefloors. But in the Apollo, it's not just the dancefloor that's filled; every inch of available space is packed, the 3,500 capacity venue feeling quaint compared to the show on this tour, at London's 20,000-cap O2 Arena. The grandiose surroundings also provide a perfect backdrop for the more grandiose stylings Moby indulges in across an expansive 22-song set.
His first overseas shows in 13 years, Moby's group ease into things with the electro-symphonic stylings of . With a full live band comprised of a bassist, drummer, keyboardist, cellist and violinist, as well as two vocalists, there's no shortage of instrumental and vocal talent on-stage. The main man himself almost seems lost among them, striding around more like a conductor than performer, constantly moving around the stage but largely shunning the spotlight.
When he does step forward, its to share stories for his clear and undying love for music that has fuelled his own songs. Stories of going to The Haçienda with Tony Wilson and grabbing coffee with David Bowie - "you'd name drop too if you met David Bowie!" he breathlessly says - are seeded amidst professions of love for UK artists ranging from New Order to Orchestral Manoeuvres In The Dark. Its that kind of multi-genre musical education that shines throughout the set, songs reworked and remixed for the live setting to enhance their parent genre.
The familiar melancholic, melodious fare like is given an extra level of electro-symphonic grandeur that feels more in line with the likes of Massive Attack or even modern EDM acts like Barry Can't Swim than your average 90s ravers (sorry, Shamen). But then when the likes of kick in and Moby starts hammering away at some hand-drums, there's a sense of frenetic energy that stops things grinding to a halt while 's choppy riff makes it feel like a Factory 12" that never was. There are also surprising left-turns.
With a guitar strapped around his neck, Moby shows his skills on acoustic rendition of , while a later cover of is decidedly throwaway but also undeniably goofy and fun as he gets the crowd to sing the trumpet solo. "We're going to try something and if it fails..
." he shrugs. "But safety is for Swiss ball-bearing inspectors.
Musicians should be stupid!" Unsurprisingly, it's the big hits that leave the biggest impression. A minimalist start to builds to a gorgeous and all-consuming melodic crescendo, while is transformed into a funky, cosmic disco tune. With an already incredible vocal duo of Nadia Duggan and Choklate excelling on the soulful melodies of songs like and there's an extra layer of powerhouse added on when support act - and star in her own right - Lady Blackbird joins for gorgeous and powerful renditions of and Although more in line with the likes of Haçienda Classical or Ibiza Proms than some of the more tech-head friendly EDM acts you'd hear at festivals like Boomtown or Glastonbury, Moby does embrace his rave roots on closing numbers and , the latter ending in a blitz of flashing lights and hypersonic thumping beats that has the audience shifting out of their seats for one last major dance.
It's not just his rave roots Moby is embracing either; a former punk, his ethics and animal rights activism remains a clear priority, the artist taking a cheeky swat at Manchester's favourite sons, the Gallaghers and their . "All of the profits from this tour go to animal rights organisations," he reveals to massive cheers. "No offence Oasis, but that's how you do it.
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