This show very nearly didn’t happen at all. Massive Attack have always been not only principled but remarkably forthright in standing by those principles. Of particular relevance here is their long-standing support of the cultural boycott of Israel, in place since 1999.
The band were appalled by the new partnership between Co-op Live and Barclays, which almost led them to withdraw from the show entirely. They made it clear that Barclays’ involvement in the sale of arms to Israel and its financing of new fossil fuel extractions are, in their view, profoundly unethical. However, they negotiated for all Barclays branding to be removed from the venue and agreed to perform under those terms. All food sold at the venue was plant-based, and attendees were encouraged to use public transport.
As this was the band’s only UK arena performance of the year, expectations were high—and it delivered. Opening the evening was 47Soul, a powerful three-piece who introduced themselves as being from Palestine, to enthusiastic approval from the crowd. Their performance, blending Eastern, soul, and electronic influences, created a unique and compelling sound. Switching fluidly between English and Arabic, they thanked Massive Attack for the invitation and set the tone for what was to follow.
Climate justice activist Tori Tsui then addressed the audience, making a compelling case against fossil fuels:
“Fossil fuels are weapons of mass destruction, fuelling climate breakdown and also the genocide of Palestinians in Gaza.” — Tori Tsui
She called out major financial corporations, with Barclays receiving special mention. Her words drew cheers, particularly when she referenced her friend Greta Thunberg making her way to Gaza to support ceasefire efforts. Her speech left no doubt that the band’s values aligned with sustainability, peace, and justice—and that they were using this platform to make it known.
Visuals then began, including a trailer for the forthcoming Adam Curtis film Shifty, set to premiere on BBC iPlayer in mid-June. The theme—how extreme wealth and hyper-individualism formed an unspoken alliance in Britain over the past 40 years—resonated deeply. The screen then displayed mesmerising rolling headlines: fragmented news items that primed the audience for what was clearly more than just a concert. It was a challenge to think.
An ambient intro track, In My Mind (originally by Gigi D’Agostino), gave way to the opening Massive Attack number, Risingson. Robert Del Naja’s vocals led the way, as thought-provoking visuals unfurled behind the band—including distressing images from Gaza and Ukraine.
Reggae legend Horace Andy, described by Del Naja as the band’s “collaborator-in-chief,” appeared to sing Girl I Love You. He was followed by Elizabeth Fraser, who delivered a hauntingly beautiful rendition of Black Milk. The cavernous arena began to feel more intimate, with a tangible sense of unity and a shared intellectual and emotional journey.
Take It There saw Daddy G take vocal lead, followed by a stunning reworked version of Future Proof—complete with Del Naja playing the theremin. Song to the Siren brought Fraser back for another breathtaking performance.
Del Naja then delivered a powerful statement making it clear that “every song is in solidarity with the people of Palestine“, met with resounding applause. Inertia Creeps featured devastating statistics on the humanitarian crisis, displayed starkly across the stage.
A fierce cover of Ultravox’s ROckWrok marked the beginning of the second half of the set. Horace Andy returned for Angel, one of the standout tracks from Mezzanine. Then, Deborah Miller took the stage and captivated the crowd with Safe From Harm and Unfinished Sympathy, back-to-back—by this point, the crowd was on its feet. The visuals continued to confront and provoke, mixing surreal ‘conspiracy theory’-style statements with clips from previous Adam Curtis works.
A flawless rendition of Karmacoma led into a truly emotional Teardrop, with Elizabeth Fraser once again in the spotlight. The standing ovation that followed felt fully earned. The final stretch saw Levels followed by a transcendent version of Group Four. The band then left the stage—no encore, no fanfare. It felt fitting.
This wasn’t just a concert—it was a statement. It challenged the audience to confront uncomfortable truths: war, injustice, and environmental collapse. The music often felt like a cinematic score to the powerful images on screen, clearly by design. Leaving the venue, I didn’t feel alone in how I felt about it all. It was moving, galvanising, and unforgettable. And I know I’ll be doing more—proactively—from here on out.
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