It can be pretty safely said that 1997 was really the year for Radiohead; the stupendous epic that is OK Computer was one of the few albums of the year that seemed to have made an impact on groovy London critics, old fans and fresh Radiohead virgins alike. The Manchester Nynex audience is a testament to this slightly overwhelming crossover, and while Radiohead`s previous UK tour around the country`s smaller venues was an unmitigated success, tonight they are faced with a challenge; can they pull off these arena gigs without losing any of their intensity?

The mood is superbly set by DJ Shadow, cocooned by the mixing desk in the middle of the arena, unnoticed by those walking past him with plastic pint cups no doubt presuming him to be a roadie or a technician. Which, in a way he is, constructing, distorting, looping and breaking down beats (man!) over his decks creating a dark, funky, at times filmic soundtrack that bounces around the Nynex along with simple but effective lighting.

The Nynex now has an atmosphere so the powers that be turn on the bloody lights again and kill it. Cheers. DJ Shadow has hopefully scampered off in the dark so as not to ruin whatever mystique surrounds him, and portions of the audience chomp on their burgers and nip to the loo before the show starts. But there`s an unmistakable air of expectation nevertheless, and when the lights go down and the fabulous tripped-out b-side that is "Meeting in the Aisle" leaks out of the speakers, the crowd does indeed go wild.

Radiohead come on stage and hurl us straight into the album opener Airbag, one of the best most in-yer-face (pardon the expression) songs on OK Computer that is driven by a fantastic dramatic guitar coda; unfortunately the song technically suffers from `first song trauma`, and the sound seems a bit too mushy. Which in a strange way makes Thom`s wailing sound all the more fantastic - the poor lad looks and sounds as if he`s drowning. In a good way. Karma Police establishes itself as a bit of an anthem, even though it is almost defiantly sung to the spectators swaying in front of him, insisting on holding their lighters aloft in a despicable Bon Jovi manner.

And so Radiohead blast out most of the goods on their last two albums, throwing in the marvellous "Talk Show Host" (which can be found as a b-side to "Street Spirit"). The song descends into a frenetic guitar wig-out (man) but not in the usual sense; there`s a distinct drum`n`bass element to it. Definetely a highlight for the evening and the perfect Radiohead showcase (should they ever need one). The obligatory "Creep" is not apologised for anymore; it would seem to now be an experimental few minutes for Radiohead, seeing if they can mess up their big fat chart hit to make it sound more interesting, a task that seems to fall on the shoulders of Jonny Greenwood who substitutes his guitar crunches for miniature audio nuclear explosions. One imagines that performance to performance it`s a hit and miss affair, but tonight it works, and the lighting is great, as the Nynex is suffocated in blinding white light.

The only other Pablo Honey tune is "Lurgee" which goes down warmly with the `I liked them when they had only just released a bootleg in Japan` crew. Otherwise, Radiohead frankly rock when it comes to the Bends-era anthems ("Just", "My Iron Lung", "The Bends", "Bones"). There`s a noticeable difference between these songs and the songs on OK Computer. They sound less complex, less fragile, less despairing; and yet this may sometimes make them seem better in a live context, certainly in this venue. They kick up a brilliant, noisy fuss. And no-one can ignore it, which was why The Bends was so great. The songs from OK Computer, with the possible exception of the wistful and kind of tongue-in-cheek humour that for some reason seems to lurk in "Subterranean Homesick Alien" are quite simply stunning. "Exit Music(for a film)" is perfectly set; Thom stands alone spotlighted with his guitar,and then the swaggering lazy funk of drums and guitar looms in as the song progresses, the rest of the band now visible. "Paranoid Android" is recieved ecstactically, and "Lucky" is another stand out track that genuinely moves.

Though one can`t help but feel that Radiohead are tirelessly and universally over-lauded, it`s difficult to really fault them. Are they too wooden and anonymous? Maybe, but who cares when the songs are so good? Anyway, it`s been hard to avoid the plastering of Thom Yorkes face over every music magazine in the country. They are affable and smily, and Thom says hello and thanks us when we clap. Everything complements the songs, which is probably why the lighting is fantastic but the set and the demeanour of the band is minimal. With the full-on Bends songs and the emotionally draining OK Computer songs they have powerful ammunition for a probably inevitable stadium attack.

So Radiohead rule o.k and the masses go home happy. What next for Radiohead? Will they fall foul of stadium rock? Will they stop enjoying it? Will it all turn into moany tripe? Will they put some weight on? Who knows, and after tonight, who cares.

-Nadia

Shep Online Music
12.97