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LIVE: LCD Soundsystem - The Warehouse Project, Manchester

After basking in what some may argue is the understated brilliance of new album American Dream for a few weeks now, Far Out just had to make it down to the comeback tour of the year when we heard LCD Soundsystem would be performing within the relatively intimate surroundings of Manchester’s Warehouse Project.

Catching last year’s Primavera Sound and Coachella headliners in a car park under a train station sounds like quite the coup on paper, but the venue has not been without its criticisms over the years – with the vast majority of events focusing on DJs as opposed to live shows.

One such gripe is a tendency for organisers to oversell, packing revellers into a space which is narrow and almost totally flat, inevitably meaning a restricted views for many.

But tonight James Murphy and co put on a hit-packed celebration of their back catalogue that far eclipses any dissatisfaction that comes from the venue’s design flaws.

The rest of the band emerge first, tentatively slipping into the electro groove of ‘Get Innocuous’, before the frontman finally arrives to roof-raising applause. From there on its pretty much one massive party. The impending shadow of Monday morning back in the office couldn’t be further from the minds of this jam-packed crowd.

Interestingly, American Dream makes up only a very small proportion of the repertoire, with lead singles ‘Call the Police’ and ‘Tonite’ the only tracks that make it into the main set. Instead, LCD Soundsystem take us right back to their inception with ‘Tribulations’, ‘Movement’ and a pulsating ‘Yeah’ following each other in enthralling succession.

Despite previous complaints about The Warehouse Project’s sound, too, tonight the New Yorkers seem to adapt the space to their advantage, presenting a show heavier on pounding synths than was the case during a handful of festival headline sets last year.

It’s perhaps the least dance-tinged number that rounds of the main set, though, as the mass sing-along of ‘New York I Love You, But You’re Bringing Me Down’ precedes the band’s exit from the stage. Not that there is any mystique about what is to follow. Murphy endearingly makes a mockery of the tradition of the encore, having already stated “we’re gonna play three more songs, then go for a piss, then come back for three more songs”.

The final glimpse of American Dream comes in the shape of the ingeniously titled ‘Emotional Haircut’ before its very much back to the classics. The night comes to a euphoric crescendo with the roof-raising ‘Dance Yrself Clean’ and  almost biblical closer ‘All My Friends’. It’s been a mesmerising return to UK shores for a band who have been able to pick up where they left off with consummate ease.

Patrick Davies