I have never had the creamy head of a pint of Guinness go shooting up my nostrils before. Well, that faux pas with Arthur’s goodness happened earlier when doing pre-show research in a nearby hotel bar. I discovered that Manic Street Preachers enormo-hit A Design For Life is already 30 years old.
Manic Street Preachers
3Olympia, Dublin – 22 October 2026
Words: Brian Boyle
Photography: Steven Maloney
Now that is not the kind of info you want to procure when you are on the downslope of the midlife piste. But there was comfort in knowing that three odd hours later, I would be hearing it in the flesh. And it is thanks to Dublin not having a three- to four-thousand-capacity concert venue that we got to enjoy the Welsh institution do it in the close confines of the historic 3Olympia Theatre.
Unusually, there was no support act tonight. Instead, the PA got rattled by a couple of mixtapes called Rock ‘N’ Roll Is Here To Stay, made by their former bandmate Richey Edwards.
As the punters sauntered in, they were greeted by a screened image of a handwritten cassette j-card, and an eclectic mix of indelible classics from The Cult, Sinéad O’Connor, Pearl Jam and Happy Mondays slowly started to set the tone. No doubt that was a blast of nostalgia for those of a well-corked vintage.
But it also acted as a poignant tribute to their brother, later echoed by bassist Nicky Wire declaring “we are three, but we will always be four”.
Although they are playing sprawling mega-domes like The O2 in London and Co-op Live in Manchester on this run, tonight’s intimate setting with 1,600 felt like the better deal.
The ornate lamps of this 147-year-old theatre dimming at showtime is a world away from mass arena hell. There were no Johnny-come-latelys scrambling to their seats with a bucket of popcorn here. Everybody was in place, and the mood in the room was absolutely perfect.
Manic Street Preachers do not do over-elaborate productions. That said, the screen, which was firing out various images all night, did work a treat. But when they took to the stage, all eyes were firmly on the three Welshmen.
It is a testament to the strength of their catalogue that they can open with Motorcycle Emptiness, one of their true gargantuan anthems. And straight off the bat, it was easy to see why it is so revered. The reaction was beyond euphoric, with the band going straight for the heartstrings.
The always therapeutic Ocean Spray swiftly followed and did not lower the elation one bit. In fact, the song’s emotional tug just heightened it.
As usual, James Dean Bradfield was a ball of energy. His trademark spin is still an impressive feat, especially when you consider the chunky Gibson he is playing at the same time. His enthusiasm was infectious, and together, band and crowd blew a few bulbs out with a very loud You Stole The Sun.
When they turn on their hard rock afterburners, they are a breathless unit, and that is something they are not given enough credit for.
Despite being extensively covered in Classic Rock Magazine and a wealth of online rock sites, to some, Manic Street Preachers are just another Britpop outfit. But across their thirty-four-year recording career, the Manics were never afraid to dip their toes into different genres, and a lot of that was done with the Marshall dial turned up to Spinal Tap numbers.
And anybody foolishly questioning their rock credentials would have choked on a large lump of humble pie tonight watching them tear it asunder on Faster, and the Guns N’ Roses-influenced Slash ‘N’ Burn.
And such is Bradfield’s admiration for the top-hatted Stoke-on-Trent legend, it is no coincidence that the wonderful riff to Autumnsong bears his DNA.
On a personal level, this is my go-to Manic’s tune, and I had a sleepless night worrying about it not being played on the second night. I need not have worried, and when the barest crack of the opening chords were let out, inhibition flew out the side door as the old air guitar made a cameo appearance.
Being proud Welsh people, the tribute to Bonnie Tyler with a snippet of Total Eclipse Of The Heart was a genuine touch of class, and did give No Surface All Feeling an extra bit of ammo. It is obvious they are good skins. Bradfield on more than one occasion acknowledged every section of the theatre with a wave and a thumbs up. Even the poor unfortunates up in the gods were not forgotten.
And he has no problem letting the man to his left and oldest friend Nicky Wire steer the ship. His lead on the wonderful Hiding In Plain Sight was one of the highlights of the night, and doing it with an Elvis-inspired white acoustic and a pocket full of confetti was always going to be a winner.
How do you top that? You set loose one of the biggest and most iconic songs of the ’90s, their career-changing A Design For Life.
For many in the house tonight, this was their introduction to the Manic’s, and their passion for it showed no signs of fading. The chorus is still pristine, but it is always those orchestral tones that send you right back.
Bradfield’s acoustic spot with This Is Yesterday, and Sleepflower could have been perceived as a breather for drummer Sean Moore, who held everything together all evening high up on his riser. It was a bit of craic nonetheless, and did prompt a good old singalong.
The final act with the acoustic reached a moving climax as the rest of the lads returned to light up the closing moments of The Everlasting. If ever you wondered why people keep returning to see this band live, this rendition would have given you the answer.
The home straight was an electrifying riot. We, of course, got the all-action Your Love Alone Is Not Enough, which has never lost any of its gusto when done without the co-vocal of The Cardigans’ Nina Persson. In fact, Bradfield seems to raise his game doing a dual role.
On the eve of the release of The Holy Bible Live, the much respected 1994 album got its second representation with the abrasive snarl of Die In The Summertime not giving anyone a chance to catch their breath.
Although the front pit area was not exactly a den of mosh abandon, the unique vibe within the 200-odd was that of channelled worship, even with the glam-punk wrecking ball of You Love Us.
But as they clocked out with If You Tolerate This Your Children Will Be Next, the whole place was unified. The song’s political undertone was completely lost in an explosion of confetti and choral glee.
Manic Street Preachers have been coming to the 3Olympia on and off for 30 years now, and I doubt there were many nights better than this one.
Stunning.
