Few bands have shaped Scottish rock’s global presence over the last 30 years quite like Biffy Clyro. The Killie icons are sure-fire future Rock And Roll Hall Of Famers, but in Nottingham tonight, we are reminded to celebrate the now before it becomes a relic of the past.
Biffy Clyro – Soft Play – The Armed
Motorpoint Arena, Nottingham – 12 January 2026
Words And Photography: Matt Pratt
2026 marks a busy year for the popular rockers as they take their new album, Futique, to the world. Opening the doors of the Motorpoint Arena for the first time this year, we get an early view of what this next album cycle will look like in the lead-up to their massive Finsbury Park show this summer.
The show begins draped in sheets with silhouettes of the band members projected as if they were statues in a museum archive. The imagery that we open with is pulled directly from the ethos of Biffy Clyro’s latest release.
The fusion of two words, ‘future’ and ‘antique’, signifies the sentiment that experiences which may seem trivial in the moment may one day be looked back upon with fond nostalgia. As the sheet descends, we expect to see the familiar faces of Simon Neil and Ben Johnston, but instead, another sheet?
We must be almost three-quarters of the way through the song before we have a chance to look the artists in the eyes, and it makes you wonder, was this tactful titillation or is the antique actually the pulley system, failing to lift on cue?
It may have taken a minute to unleash the Scots onto the Motorpoint Arena, but once these cats are out of the bag, good luck getting them back in!
It is easy to forget how long Biffy Clyro have been occupying our airwaves, but as you hear each hit roll out of the set list, you are sent reminders. Music inevitably ties itself to memories, from infancy to adulthood, when you have been producing chart-toppers for over 30 years.
Regardless of the era which the band called upon, the timeless tracks are met in fine voice by the people of Nottingham.
Alongside the anthemic rock hits that we are so familiar with, the band are also well decorated with softer ballads such as Space, Goodbye and Biblical.
As the end of the set approaches, there is a particularly tender moment as Simon, Ben and stand-in bassist Naomi McLeod sit upon the stairs at the back of the stage for a gentle rendition of Machines. Naomi stepped in for the usual bassist, James Johnson, who announced he would be sitting out the tour as he tackles his long-term struggles with mental health and addiction.
James’s absence was recognised earlier in the set as the band dedicated the song Friendshipping to their lifelong friend. However, the performance of Machines, a song of optimism in the pits of adversity, feels extremely poignant too.
There are a number of notable exclusions from the setlist this evening. True Believer has been widely favoured as one of the most popular songs from Futique, so its omission came as a huge surprise alongside old favourites like Glitter and Trauma, Folding Stars, God and Satan and Re-Arranged.
While the immediate response to seeing your favourite songs not included in the set may be one of disappointment, it demonstrates the band’s commitment to keeping things fresh.
After 30 years of touring and countless charting hits, it would be easy to throw together a “greatest hits” set and take the exact same popular songs to each show, but would that not get boring?
What Biffy Clyro brought us this evening is another revitalised look at a band that is not hanging on to relevancy with historical success. They are taking risks to offer something fresh and what might be your next favourite hit.
Another noteworthy retirement comes with the closing song of the show. The three-piece are known for anthemic climaxes that are often accompanied by pyrotechnic fanfares at festivals around the world.
Stingin’ Belle, which has been their go-to closer for some time, finds itself back on the bench, replaced with a fan favourite but a massive change in style. Many Of Horror leaves the frantic thrashing of guitars in favour of a calm and emotional sign off, and is an appropriate note to leave this new era of Biffy Clyro on.
Futique marks a moment of reflection, focusing less on climbing further but looking back and appreciating all the steps you took to make it this high.
If their last album is A Celebration Of Endings, then this must be the great reset and platform to start something new, and with their biggest show to date coming this summer, it seems that while 30 years may mark the end for most bands, it is only the end of the first chapter for Biffy Clyro.
Soft Play
Soft Play are no strangers to this town. Just over a year ago, they were performing their very own sold-out show across town at the legendary Rock City.
One thing to be expected from a Soft Play gig is utter chaos. Like the punk bands of old, nothing is safe as the two musicians throw themselves and their kit about the stage with reckless abandon, only adding to the palpable energy that just two people can somehow encapsulate an entire arena with.
The attitude of the band is deeply endearing. They want to start the riot but want to be sure that nobody is hurt in the conflict, pure catharsis with self-care at the very core of their focus. No moment exemplified this attitude greater than when they orchestrated a women-only safe space, which is then utilised as a mosh pit.
Soft Play exists within a unique place at this stage of their career. They have outgrown academy stages and seem too big to be supporting an arena headliner, but are they ready to take on the arena headline slot themselves?
Well, if tonight’s taster was anything to go by, they clearly know how to tame the beast, so maybe it is time to make the step up.
The Armed
Biffy Clyro are not unfamiliar with the harsher ends of the rock spectrum, but it is fair to say that their identity has firmly landed within the realms of radio-friendly rock, so the opening band for their show tonight may have proved a touch challenging for those more used to the Scots’ mainstream works.
The Armed are a reckless mishmash of styles tied together with chaotic energy. The songs change up styles so quickly, you get whiplash. Each song feels like multiple different songs being played simultaneously.
The energy is incomparable. Fortunately, the room is nicely filled from the off, but to receive this much cathartic aggression from an arena opening act is a treat and a fantastic way to warm up for our headliners.
