Arcade Fire

Much of the press surrounding the new Arcade Fire record has concerned itself with the maudlin tone of Win Butler's lyrics - despair seems to course through the band's collective veins on Neon Bible, more so even than its predecessor - but tonight, whatever they're singing about, it's a joyous return.

I say return, but last month's much-publicised London-only church gigs were the first opportunity for a lucky few (including this reviewer) to hear songs from their sophomore long-player in a live setting. A momentous occasion though that was, Manchester's Apollo is a proper gig venue - the crowd is huddled together, up close and personal. You can smell what the person next to you has been drinking, or if you're particularly unfortunate, guess at when they had their last shower.

The band, though, are some distance away. Even after the barrier, there's a gulf ("filled with lava", jokes Butler) before the stage begins, and set back a few feet from that, the mics and instruments. This is why a few fortunate audience members are invited to watch the gig sat down in front of the band - and during 'Rebellion (Lies)', maybe 30 more join them from the throng after Butler opens a gate and ushers them stage-wards.

All that chutzpah comes only after they've delivered the majority of Neon Bible - minus the title track and 'Windowsill' - and it's this first part of the set (and I realise I'm probably in the minority here) that proves most gratifying.

'Keep The Car Running' is the first opportunity for them to howl together in unison - a sight and sound that never grows tiring - but it's not until oldie-and-newie 'No Cars Go' that they really get into their elegant stride. Once they're into that groove, it's like watching A Clockwork Orange's house band playing twisted classical symphonies; though the new material isn't at all optimistic in its outlook, the live treatments give rise to no lesser emotion than unbridled ecstasy. It's on their faces, it's on our faces: total, communal elation.

That's why it's possible to overlook the less-than-ideal sound, and the bewildering decision to end on something of a downer. 'Ocean Of Noise', undoubtedly a great track but not as a set closer, leaves everybody I speak to a little disappointed. 'Wake Up' or 'Laika' would have been the popular choice, but maybe that's the point: Arcade Fire aren't a band who seem worried about living up to any expectations we might have, and perhaps that's just why they consistently manage to surpass them.