Argentine rapper Trueno opened the night. The venue was already decently filled with more and more punters appearing every song.
Backed by booming bass and an interesting mix of pre-recorded and live visuals, he delivered a punchy, high-energy performance, occasionally backed by two “hype men”/backing vocalists who did well getting the floor crowd moving. Trueno gave us a set of Latin trap with old-school hip-hop influences, and while most members in the crowd wouldn’t have understood the words, his presence on stage and backing beats created a vibrant atmosphere.
I do think, unfortunately, that with the language barrier between most of the audience, there seemed to be a lack of retention in many people, most notably in the seated area. I think a good way to combat that would be to have translated lyrics on the screen for audiences of other languages to follow. Trueno gave the impression his music had a lot of intent and meaning behind it. It was unfortunate that the majority were unable to connect with that meaning. As an opener, he was a good balance; unique enough to stand on his own, but complementary to the genre-blurring chaos that was due to follow.
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By the time Gorillaz took the stage, the Hydro was completely packed. Even the upper seating, that more often than not is closed off for most gigs, was completely full. Touring in support of their new 2026 album The Mountain, the show leaned heavily into the band’s signature mix of styles – hip-hop, alt-rock, electronica, indie, and so many more – delivered by Damon Albarn, a full live band and an ever-growing cast of collaborators.
Visually, it was classic Gorillaz; big screens of animated mascots (2D, Murdoc, Noodle, and Russel) loomed behind the musicians, blending seamlessly with surreal graphics. It’s a gimmick that could feel tired in lesser hands, but with Gorillaz it remains central to the magic. The setlist blended new material with fan favourites, moving effortlessly from the Indian-inspired groove of newer tracks into the blissful nostalgia of hits like “On Melancholy Hill” and “Rhinestone Eyes”.
The crowd reaction peaked during the bigger singles, with the crowd singing and dancing along. Even deeper cuts had the audience buzzing, showcasing the band’s vast and varied catalogue. A standout moment for me was the amazing vocals by Michelle Ndegwa during “Kids With Guns”. Ndegwa’s voice was powerful, transcendent and incredibly impressive.
What stood out most, though, was the sheer scale of the performance. Gorillaz have always excelled with their collaborations, and that was fully on display with guest vocals, a large mix of live instrumentation, and layered production giving each song a magic that you can’t quite capture outwith a live performance. It’s a reminder that, despite their virtual character identities, this is a very real, very human band.
The encore delivered exactly what the crowd had been waiting for. “Feel Good Inc.” transformed the venue into a mass singalong, before “Clint Eastwood” closed the night in triumphant fashion. It was a spectacle. Ambitious, immersive, and, at its best moments, genuinely transcendent. It was beautiful to see people’s strong raw reactions to what was an awe-inspiring piece of live art.
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Photos by Kyle Mcloughlin
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