Manchester’s MONEY return to Nottingham with new album Suicide Songs under their belt, bumping their pop sensibilities into more majestic, orchestral territory.

2013’s The Shadow Of Heaven was impeccably well-received; its intricate pop tendencies belied a more tender or delicate nature, whilst its rich soundscapes were rather befitting of an acutely mysterious band with an un-googleable name.

Moreover, it was self-aware enough to fit firmly into a Manchester rock and roll narrative, yet never strayed into overly-grandiose Elbow territory or jangly guitar indie landfill. It was, to put it succinctly, a stunning piece of art – and this writer’s first experience of a MONEY live show, back in November 2013, more than did it justice.

Now, it’s been well-documented that lead singer Jamie Lee has had his personal problems since the release of this first album – namely drink and drugs – and, inevitably, its follow-up, Suicide Songs, focuses on this. And considering the title, it’s really quite a jolly affair, and a seemingly natural progression of the band’s sound.

Arriving on stage shortly after 9pm, we see the presence of a mini orchestral section (a cello and violin if this writer’s pitiful classic knowledge is not mistaken) and also the re-appearance of Nick (on bass) from fellow Mancunian support act Bernard + Edith. And, let’s be honest, before a single note is even played, everyone in the half-full Bodega knows that this is going to be great – there’s tangibly no pre-gig trepidation here. And it’s for this reason, potentially, that Lee greets the crowd with a languid self-confidence, treating them as friends rather than punters.

Lee kicks off proceedings with a new song performed alone: just him and a guitar. Eerie, almost threatening, chords are accompanied by Lee’s voice, which is soaked in swathes of reverb, and it is simply beautiful – any other adjective would be a lie. It’s a stunning start, shortly after which the rest of the band join him on stage.

Subsequently, the band plough through a set that samples mainly from Suicide Songs. ‘You Look Like A Sad Painting…’ stutters and purrs poetically, while ‘I’m Not Here’ has the distinctly uplifting feel of a traditional folk song. It must be said, however, that this writer’s highlights still come in the form of two older tracks: ‘Bluebell Fields’ and ‘Letter To Yesterday’, the latter of which rumbles along with that unmistakably foreboding bassline.

The band finish with album-closer ‘Cocaine Christmas and an Alcoholic’s New Year’, an update on a Pogues song if I’ve ever heard one, and which leaves many in the crowd swaying arm-in-arm. Lee thanks his fans for sticking with him, and them, over the last couple of “difficult years” and with that they’re off down the Bodega stairs.

A suitably delightful gig from a band that could be on the verge of something special. A must-see if given the chance.

[First published on Subba-Cultcha on 16th February 2016]