Paradise Lost open their latest tour in support of their latest long player, Ascension, with a date at Manchester’s fine New Century Hall.
HIGH PARASITE
“Come see us afterwards; we’re nice, approachable folks,” says Stainthorpe as High Parasite the half way through point of their thirty minute set. They won’t be short of takers, such is the legendary status of the front man.
Formed as a ‘death-pop’ outfit, the five piece get stuck into their set and don’t let up. There are plenty of gothic tendencies throughout that evoke bands like Sisters Of Mercy and Bauhaus, as well as more modern acts like Unto Others.
With Tombs on bass dressed in a ‘Choose Goth’ t-shirt with his face obscured with a skull mask and Stainthorpe decked out in an all white suit, both move around the sizeable stage of New Century Hall.
In the time they have, they get through a good clutch of their debut LP. It pleases those in attendance early who have no time to draw breath with doors just after 7 for a 7.15 start. A quick ‘thank you’ is met with applause as they get things rolling on a decidedly dark, musical evening.
MESSA
Just over ten years into their being, Italy’s Messa have four albums to their name. Their latest, The Spin, seeing release earlier in 2025.
It’s from their latest record that many of their songs in the set are culled. What’s interesting, is that the band favour using half the stage. It creates a tighter more intimate unit onstage.
Singer, Sara Bianchin, is an alluring presence upfront. Guitarist, Alberto Piccolo, is a bit of a virtuoso. His solos adopt a range of influences but it’s hard not to look at Iommi, Gilmour and Zappa to name but a few. When he introduces the use of a bottleneck, he revels in being able to solo. His mustachiod demeanour and big hair even cuts a figure of Frank.
Driving the songs are bassist Marco Zanin and drummer Rocco Toaldo. They thunder along creating the bed for the band. Some tracks have traditional doom tempos but they move into jazzy patterns and motifs effortlessly.
Each passing song is greeted warmly. If those in attendance didn’t know the name before entry; they do now. ‘Thank you so much,’ says Bianchin before their last song. Messa return to Manchester in mere weeks for Damnation Festival. There is a big ‘Grazie Mille’ as they depart the stage.
PARADISE LOST
To the strains of Dead Can Dance, Paradise Lost take their marks one by one. Jeff Singer is first to appear before the band kick off their tour with Serpent On The Cross…track one, side one, of 2025’s Ascension. It is the perfect place to start and well and truly lights the touchpaper. From the opening doom prologue, to the pacier track tempos when it kicks in, this is a perfect opener.
Turning the clock back, they dip straight into Tragic Idol and True Belief. Both are massive crowd pleasers. If there was any trepidation about whether or night there might be any first night jitters, none are evident. True Belief is superb and rolls things back three decades or so.
Another Draconian Times cut given an early airing is Once Solemn. It’s one of the many highs on what might well be Paradise Lost’s magnum opus. The chugging riffs and cries of ‘your powers electrify me’ make for a thrilling mix all these years on.
A RETURNING MANCUNIAN
“Jeff’s from Manchester; we have to cage him he’s that rabid!” jokes Nick Holmes of returning drummer Jeff Singer, locked away behind a drum screen. His kit is huge as he revels in being back behind the kit with Paradise Lost. One Second, from the album of the same name, is one of two trips to the 1997 release.
Pity The Sadness takes back even further with another up tempo rocker from 1992’s Shades Of God. The crowd from front to back throw horns and raise fists. This is a band that has stood the test of time; plenty of those in attendance will have grown up with Paradise Lost.
Living up to the doom name, Beneath Broken Earth slows the pace to a crushing canter. It showcases the quality and variety of material that the band has amassed over the years. The churning riffs and slow tempos are glorious. A blazing solo from erstwhile Gregor Mackintosh is a huge highlight. Those of a classic Sabbathian persuasion will struggle not to enjoy this, even though it is utter misery! “Cheer up!” remarks Holmes sarcastically as the song reaches it’s crescendo.
NOTHING SACRED
Nothing Sacred again shifts the mood, and point in time. It’s another notch in a setlist that is as all encompassing as it can be with such a large catalogue. The blue hues of the album cover are created onstage.
In the back end of the main set, Paradise Lost continue to move between discography markers. Mouth and Requiem go back in time whereas Tyrants Serenade again highlights 2025’s new release. To close out the main set, Say Just Words has the crowd fervent. It is a superb song and one that acts as a calling card for the band.
No Celebration opens the encore. It is a song that has been dusted off as it has not been played for many years (according to Setlist FM). For the lifers, its a nice surprise and one of those moments where long time followers of a band will smile with glee at an old favourite. Ghosts is an up tempo rocker that has Steve Edmondson shaking the foundations with his bass.
A parting cut from Ascension, in the form of Silence Like The Grave, brings things back to 2025. The trio of new cuts sit perfectly with the older material that has clearly been thought out by the band. Whilst they can’t include everything, there are no complaints here. A brilliant start to the tour and one that shows that Paradise Lost are alive, well, hungry and invigorated.
You can find the rest of Paradise Lost’s tour dates here.
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