Gig review: Black Country, New Road at Rock City

The Rock City evening began with a stunning set from Titanic - all the way from Mexico City. Guatemalan cellist Mabe Fratti, Venezuelan guitarist Hector Tosta and their band presented a gorgeous concoction of high drama, big sounds and instrumental mastery. Their highly experimental work was an excellent choice to pair with Black Country, New Road, who can also at times be similarly adverse to genre.

The headlining six-piece triumphantly entered the stage to Paul McCartney & Wings’ Live and Let Die - a song firmly within the same theatrical sphere as the discography of the band. They then settled into the gorgeously soft opening plucked strings of Two Horses, written by vocalist and violinist Georgia Ellery, who lead the vocals beautifully. As the song ramped up, more and more melodies started weaving together like a small orchestra unfolding before our very eyes. 

The vocal responsibilities were quickly redistributed as Tyler Hyde took charge for Socks. Throughout the set, different instrumentation and different roles were swapped around and shared between members as they moved through the Forever Howlong setlist. Socks once again demonstrated that beautiful use of light and shade the band use, as though you’re watching a play set to music, rather than a band performance. While the piece allows Tyler and the piano to enjoy a moment in the spotlight, the swirling brass and marching bass reverberating around Rock City created a fullness and such beautiful context for the song that you wouldn’t feel in the same way listening to the recorded album. That passage of time, as Tyler travels through memories of an imperfect relationship into the present.

Draped over the piano for the duration of the set was a Palestinian flag, in line with the band’s staunch support of the people of Gaza, and the atrocities they’re currently facing. Chants of “Free Palestine” would later ring out through the venue, led by the band. 

The set mostly consisted of a playthrough of Forever Howlong - perhaps to be expected given that their last album Live at Bush Hall was in itself an event, and before that the band had a different vocalist entirely in Isaac Wood, who left the band in 2022.

However, the crowd were also treated to two songs outside of the album. Dancers, from Live at Bush Hall, was simply awesome - a huge crashing crescendo into what essentially became a group singalong throughout Rock City of the song’s refrain “Dancers stand very still on the stage”. The band also played a cover of The Ballad of El Goodo by Big Star - a cover that very few of the crowd recognised, but one that very much felt like it belonged in the BC,NR's realm. 

Missing from their setlist, perhaps most strikingly was their huge fan favourite track Turbines/Pigs, which would definitely have been appreciated by fans. While it’s understandable for a band, especially one as highly instrumental and avant-garde as Black Country, New Road to not want to just play the hits, when you’ve got a masterpiece like that, it’s a shame not to play it. 

But with or without Turbines/Pigs, the sextet put on a glorious performance that fused classical, folk, indie and theatre that was both impressive and enjoyable.

I found myself for a great deal of the evening staring out in awe of how much talent the band possesses. For Besties, the crowd once again joined together to sing along to a proper 6Music darling of a track - one of their only songs to more loyally follow a linear pop song structure, while still playing about with time signatures because - let’s face it - BC,NR simply can’t resist being a bit more inventive with their music.

A whole lot of fun was had, and hopefully it won’t be the band’s last headline gig in our city because I’m sure there’s more to be discovered as Black Country, New Road continue to evolve. 

Black Country, New Road, performed at Rock City on 11th September 2025.

@blackcountrynewroad