Self Esteem | Moonchild Sanelly
Manchester Academy
twenty seventh September 2025
Self Esteem arrives in Manchester for the primary of three nights on her bought out UK tour celebrating A Difficult Girl.
I’d been trying ahead to tonight since shopping for tickets again in March for my higher half and myself. Each followers for a while, we’d loved Rebecca Lucy Taylor’s earlier go to to our metropolis in 2023 and weren’t going to overlook this, although, at that time solely a few tracks from this yr’s contender for 2025 Album of The 12 months had been launched.
Since A Difficult Girl was launched in late April and seeing Self Esteem’s performances broadcast from Radio 1’s Huge Weekend and Glastonbury, the anticipation has solely grown. Upon getting into the Academy tonight, it appears we’re not the one ones feeling this fashion.
Arriving shortly earlier than tonight’s assist, Moonchild Sanelly, takes to the stage, there’s a buzz within the air. The venue might be already over 50% full. South African Sanelly, accompanied by her DJ/Dancer Ashwin (rocking a stunning pink combo of t-shirt and Lycra shorts) will get a well-deserved enthusiastic reception. I’m solely aware of a few her tracks – one among which being a collaboration with the headliner – nonetheless I’m within the minority as many are singing alongside and becoming a member of in with To Kill a Single Woman (Tequila) and Huge Man. The right opener, setting the tone for the night and getting everybody in the fitting temper.
Because the time approaches for Self Esteem it’s fascinating that there’s probably not any music performed between acts, which means that the thrill is palpable and builds as individuals chatter. Shortly after 9pm the stage is plunged into darkness as the primary notes of I Do And I Don’t Care land and the principle act’s ensemble seem by way of the shadows, taking positions as Taylor is greeted with rapturous applause.
This isn’t a ‘gig’. As with earlier excursions and performances, a lot of what we get is choreographed, and beautifully so. Though the main focus is finally on Taylor, her troupe are an integral half… far more than backing singers or dancers. There’s a lot happening on the stage it’s a pleasure to observe, particularly the interactions between them all around the subsequent 70-80 minutes.
The A Difficult Girl performances have been designed with a theatre-type construction, in numerous Acts, comprising songs from the present album and 2021’s Prioritise Pleasure. It’s fascinating (to me not less than) that the operating order of the album doesn’t mimic that of the reside present, because the highly effective beat-driven opening quartet of I Do and I Don’t’ Care, Mom, Lies and 69 work so properly collectively. Whereas crowd interplay all through is stored to a minimal, a single ‘Y’alright?’ nonetheless from Taylor, following the extra subdued and reflective Logic Bitch, is greeted by cheers from the viewers. We’re greater than alright.
The stage arrange for the present is fairly minimal, which means that lighting must be on level. That is used to nice impact for Prioritise Pleasure, which sees the ensemble performing carefully collectively, casting lengthy silhouettes over the plain backdrop. In contrast to a ‘regular’ evening the place individuals could also be traipsing off to the toilet or the bar, definitely round the place we had been standing, within the entrance third of the venue, there was none of that. As an alternative, there was loads of viewers participation, dancing and arms within the air… nearly deafening for a euphoric Fucking Wizardry and The Curse. The latter is launched as ‘actual music’ with Taylor on acoustic guitar, and it clearly resonates with lots of the 2000-plus crowd nearly in communal remedy as we take part. Strains resembling ‘If I’m sober or drunk, It’s nonetheless me in the course of the issue’ and ‘I wouldn’t do it if it didn’t fucking work’ are belted out with spectacular gusto.
Having Moonchild Sanelly as assist ensures her reappearance for In Plain Sight. After Taylor’s opening verses, she steps again as Sanelly seems and takes centre-stage for what’s one of many highpoints of the album and the evening, the viewers nearly silent till the questioning ‘What the fuck you need from me?’. The 345, that includes one among Taylor’s greatest vocal performances of the evening has her and the troupe performing in a huddle. While chopping out the viewers it feels earnt, a really intimate and properly deserved second for them because the evening approaches its climax.
My favorite monitor on the most recent album has been Cheers For Me. It’s get together time because it’s introduced, as anybody who has seen Self Esteem this yr on tour or on TV will realize it’s one of many excessive factors of the set, full with inflatables. Tonight doesn’t disappoint as everyone seems to be transferring, singing and celebrating the second. Because it finishes the group erupts, it’s not the top of the set however the response to that monitor is one thing else. I don’t know if this has occurred on different nights, however Taylor and all on stage appear momentarily bowled over by the response.
Though not showing on stage, the penultimate monitor of the principle set, It’s Not Now, It’s Quickly gives the possibility for the voice of Accrington’s most interesting and a great buddy of Taylor, Julie Hesmondhalgh, to ring out throughout the Academy reminding us ‘One thing will occur, as a result of it’s obtained to. It’s not simply perseverance we’d like, it’s endurance’.
If anybody is unaware of Self Esteem, or wants one thing to encapsulate the facility and emotion in a brief blast, I’d level them to the beautiful efficiency of The Deep Blue Okay captured for posterity on BBC’s Later… It’s launched it as “the final track” with air quotes as everyone knows that the night wouldn’t be full with a few different numbers. This night’s efficiency lives as much as that TV efficiency, with everybody on stage giving their all and having fun with each second of it, as we’re watching and singing alongside earlier than one other ear-splitting spherical of applause sees the stage empty and lights dim.
Taylor reappears, alone initially, nearly conversationally revealing ‘Previous habits die for a few weeks, After which I begin doing them once more’. It takes a second or two earlier than a excessive variety of the viewers take part together with her on, I Do This All The Time. By this level the posse and band are again on stage too, offering accompaniment to a crowd having fun with a shared cathartic expertise.
Focus Is Energy, the primary single from the album, and second monitor on A Difficult Girl closes the present. It feels that it’s discovered it’s residence; a coda to an distinctive emotional night. Because the performers take a last bow, accepting cheers and applause from these in attendance, they kind a conga line and exit the stage to Shirley Bassey’s This Is My Life (La Vita)… the lights don’t come on within the venue, as we shuffle to the doorways and out into the Manchester rain, the sound of the long-lasting Welsh chanteuse rings in our ears.
The Academy can usually be a soulless venue, not benefiting from the heat of the likes of the Albert Corridor or historical past of the Apollo, however tonight it has felt comparatively intimate and the fitting setting.
There is no such thing as a doubt that Self Esteem is a bona fide star – promoting out three consecutive nights is testomony to that – but she nonetheless feels barely unknown. Regardless of quite a few TV appearances, theatre productions and Sunday complement options, even after being within the business for practically twenty years, Rebecca Lucy Taylor feels, inexplicably, like a secret hiding in plain sight. With runs in Bristol and London starting in early October, adopted by exhibits in Brighton and Sheffield, I’d counsel it’s one present individuals gained’t wish to miss…
A Difficult Girl is already my album of the yr; this will simply be gig of the yr too…
~
All phrases by Iain Key. See his writer profile right here or discover him through his LinkTree
All photographs by Mike Grey, his writer profile is right here
A Plea From Louder Than Struggle
Louder Than Struggle is run by a small however devoted impartial workforce, and we depend on the small amount of cash we generate to maintain the location operating easily. Any cash we do get will not be lining the pockets of oligarchs or mad-cap billionaires dictating what our journalists are allowed to assume and write, or hungry shareholders. We all know occasions are robust, and we wish to proceed bringing you information on essentially the most fascinating releases, the most recent gigs and anything that tickles our fancy. We aren’t pushed by revenue, simply pure enthusiasm for a scene that each one among us is enthusiastic about.
To us, music and tradition are eveything, with out them, our very souls shrivel and die. We don’t cost artists for the publicity we give them and to many, what we do is completely important. Subscribing to one among our paid tiers takes only a minute, and every sign-up makes a huge effect, serving to to maintain the flame of impartial music burning! Please click on the button beneath to assist.
John Robb – Editor in Chief
