Friday night at Manchester Academy opened its doors to the electrifying force that is Franz Ferdinand as they kicked off the early run of their massive world tour, storming through Ireland, Europe, and even lining up a US festival appearance for good measure, all powered by The Human Fear, their seventh studio album released in January 2025.
I’ve been a fan of Franz Ferdinand since their self titled debut dropped just over twenty years ago. And although the album made its mark on me, somehow, despite two decades of admiration, I’d never actually seen them live. Back in the 90s and 2000s, festivals were a chaotic tapas bar of musical delights. A blur of clashing set times, sprinting between stages, and the impossible task of trying to watch everyone you loved. Franz Ferdinand were always the band I somehow missed, not for lack of trying but because there was always another must see act pulling me in a different direction. Sounds like a lame excuse, I know, but better late than never, eh?
Photographing them at why Y Not Festival last year hit me like a bloody thunderbolt. They were mesmerising from the second they walked on stage. I felt this strange mix of sadness and joy flooding in at the same time. Sadness that I’d somehow let two decades slip by without seeing them, and joy that I’d finally found them, before they disappear. Watching Alex Kapranos stepping onto the stage with that understated grace that looks more he’s gliding than walking, within seconds he had the entire field in the palm of his hand. Their performance wasn’t loud or heavily reliant on gimmicks (unlike some other bands), but instead, it was delivered with a stylish precision that had the crowd (and me) captured from the start. From the glowing orange FF backdrop to the perfectly timed jumps and effortlessly sharp vocals, I walked away with one clear thought ‘I have to see them again’. Before I knew it, checking their upcoming tour dates had become part of my weekly routine.
So, you can imagine the excitement when Friday’s show offered the chance to photograph and observe the band as headliners rather than catching a snippet on a brief festival slot. As Alex Kapranos has said, “There’s nothing like the adrenaline rush of a live show,”. Friday was a perfect illustration of what he meant. Whilst waiting in the pit with a few inexplicable, pre-shoot nerves, I could hear the low thrum of anticipation settle across the room. Any patch of spare standing space was quickly swallowed up as punters squeezed forward, determined to claim the best possible spot before the lights dropped.
Minutes later, the hum is broken by a surge of energy from the crowd as the band walked on, stepping into the light. The response was immediate and overwhelmingly loud with a sharp, unified roar rolling in from the front barrier to the back wall. Alex Kapranos, dripping in pinstripes and sex appeal wearing his trademark gangster shoes, he carried himself with the effortless assurance of a frontman entirely at home on any stage.
He offered a measured wave to the crowd before leaning into the microphone with a crisp, “How are you, Manchester?” Judging by the surge of volume that met him, the answer was obvious, everyone (including myself) was more than ready.
Then came that moment with their perfectly choreographed, almost architectural stillness where every member locks into position and strikes their pose. They did it at Y Not too, and just like it did then, it pulled a big smile out of me before I even realised. It’s effortlessly cool.
I’ve been to gigs where some musicians turn up looking like their mum made them go and you spend half the set wondering why they bothered. It’s a bit off-putting when as a punter you’re concerned that the band isn’t even enjoying the gig. There’s a fine line between ‘cool’ and ‘miserable as sin’. Franz Ferdinand have the balance just right.
They have this uncanny knack for making intensity look stylish, where every sharp movement or fixed stare is part of a well crafted choreographed plan that puts you under their spell. Lingering at the feet of bassist Bob Hardy, snapping photos of that perfectly emotionless stare, I couldn’t help but smile. I kept wondering if I could catch even the slightest grin when he glanced my way, but absolutely no chance. He stayed completely locked in, weaving across the stage with the same dead serious expression, staring out at the crowd like a Queen’s Guard with a bass guitar. Absolutely zero smiles detected. But that’s ok. Cool is the name of the game.
Before you know it, you’re bathing in the infectious intro of “Matinée.” Hearing it live sent me right back to the video where Kapranos is in that classroom, sharp and boyish, a bit like a young peaky blinder, whilst carrying a voice far older and smoother than he had any right to sound at the time. I can remember thinking ‘blimey, he sounds mature, what a suave crooner’ he is. They opened with one of my favourite tracks, one that I played on repeat the day it was released, and if I’m honest, it’s been on repeat ever since Friday too… alongside half their catalogue.
‘“Do You Want To” arrived next, driving the set forward before giving way to the anthemic lift of “Audacious.” At Kapranos’ cue, the crowd moved into slow, synchronized arm waves for the chorus, creating a unified motion that swept across the venue. From the pit, it was hard to see anyone that wasn’t joining in. It was a beautiful, striking visual. Watching a full room completely in step with the band. THIS is what it’s about.
Classic ‘Walk away and ‘Glimpse of Love’ taken from ‘Always Ascending’ were given an airing before another ‘Human Fear’ number ‘Night and Day’. I loved this on first listen, just as much as the addictive ‘Build it up’.
I loved ‘Human Fear’ from the very first listen. I’m one of those people who has to play an album from start to finish, it’s only polite. The track list is arranged that way for a reason and skipping around feels a bit like diving into dessert before touching your main. And, like always, as soon as a standout track hits, I get that little rush knowing it’ll soon be living on my repeat button, but not until the rest of the songs have had their moment.
The tracks I was really hoping to hear live were Audacious (I’d have bet money on that one- box ticked), Everyday Dreamer, The Doctor, Cats, and The Birds. But you can’t have everything, especially when a band has so many iconic bangers the crowd is practically guaranteed to demand.
There was one track on the Human Fear album that as soon as it kicked in, I thought WTH? That song is ‘Black Eyelashes’. It’s like nothing I’ve ever heard and when Alex introduced “Black Eyelashes,” on Friday, briefly speaking about his Greek heritage, suddenly, the whole song snapped into sharper focus. Singing part of it in Greek, he openly talked about the feeling of growing up between cultures and never quite fitting neatly into either. With its dark symbolism and traditional Greek musical influences, cleverly incorporated into the arrangement, the song is not only ‘genius’, but a glimpse into a part of Alex that he’s spent years trying to reclaim. I felt privileged to hear something so meaningful and if you’ve not heard it, I’d recommend giving it a whirl. It prompted some of the audience to dance with a bit of a Greek flavour to their moves which was lovely to watch.
‘Love Illumination’ and ‘Take Me Out’ crank the crowd’s excitement up a notch, priming everyone nicely before the electronic throb of ‘Hooked’ kicks in. And my God, do I love this song. It had already been blasting out of my car speakers as I rolled into Manchester, getting me in the mood long before the doors even opened. Live, it’s even more addictive. A dopamine charged, provocative club track with a prowling surge of energy and a confident streak of masculinity that makes it clear the band is in complete control, pulling the entire room in with that unmistakable Kapranos allure. Everyone was dancing. It’s bloody hard not to.
‘Outsiders’ lands as the final track before the band step offstage, leaving the crowd charged and restless. The audience immediately erupts into shouts and stamping feet, eager in their demand for more. The heat inside Manchester Academy was something else, the room packed tight. Minutes later, Alex, Bob, Julian, Dino and Audrey stride back on stage for the final time before another swell of cheers rolls through the venue.
‘Fallen’ is the first track of the encore, followed by another personal favourite ‘Bar lonely’. ‘Evil and a Heathen’ and ‘Darts of Pleasure’ are next before the evening expectedly closes with ‘This Fire’. The audience sing along at full volume, with Alex giving them a solo spot for the chorus. The lights remain red for an extended outro that made the arena feel more like a night-club than a gig. Just sooo good.
Each new album has added something different to their sound, building a colourful, multifaceted back catalogue. It’s like they keep adding layers to something that was already great. Hearing them now doesn’t feel “late” at all, it feels like the right moment, because I’m lucky and getting to see the full arc of who they’ve become. They’ve always been a band willing to switch things up, and The Human Fear shows that perfectly. It steps away from their sharper post punk edges and leans into something bolder and more textured, mixing electronic beats with the indie backbone that still holds them upright. Standing out from the crowd.
So, what makes Franz Ferdinand so addictive? Honestly? everything. The songs, the performance, the chemistry between every member on stage, and the obvious care they put into delivering a show that actually feels like a show. The jumps, the shoes, the sharp suits… it’s all part of this perfectly put-together package. Just bloody everything. I think I need a cold shower.
Well, here’s how bad it got: halfway through writing this review, I suddenly thought, “Hang on… do Nottingham or Birmingham still have tickets?” Two minutes later, I’d purchased. That’s how much this gig got under my skin. They are an absolute joy to photograph and to listen to and I genuinely want to see them again before the UK leg wraps up.
Franz Ferdinand are class. Actually, they’re ‘Class A’. They create a high that you want to indulge in again, and again and I think I’ve got a ‘new obsession’.
I suppose you could say “they’ve got me hooked’. And you know what? – that’s alright.
Go and see them – you won’t regret it. I promise.
March 2026
• 2 Mar – Nottingham, Rock City
• 3 Mar – Norwich, UEA
• 4 Mar – Brighton, Dome
• 6 Mar – Birmingham, O2 Institute
• 7 Mar – Bristol, Bristol Beacon
• 8 Mar – Cardiff, Great Hall
• 10 Mar – Portsmouth, Guildhall
• 11 Mar – London, O2 Academy Brixton
Words and Photos by Shavorne Wilbraham
