Gorillaz Review: Demon Days Deified as Timeless Classic

Copper Box Arena, Hackney Wick

"Are we the last living souls?"

A legendary, seminal record is re-produced, repurposed and recited for a one-off recital at Hackney Wick's Copper Box Arena, for an insatiably indelible show dedicated to a cherished and timeless record.

Two decades on from its release, Demon Days was revived in spectacular form at London’s Copper Box Arena, the second instalment of Gorillaz’s four-part House of Kong exhibition series. Fans were promised the full album played in its entirety; what they received was a maximalist, guest-laden celebration that oscillated between nostalgia and reinvention, stitching together one of the most cherished records of the 2000s with the vitality of the present day.

The night began with an unexpected flourish. Instead of the usual taped intro, Ben Castle emerged with bass clarinet in hand, laying down the ominous, trudging line of the opening intro, heard for the first time live. As Damon Albarn, priestly robes draped over his shoulders, intoned that immortal cry (“Are we the last living souls?”) the arena combusted, undulating in recognition.

“Last Living Souls” instantly set the tone, the crowd shouting back every word as if Demon Days had only dropped mere days prior. Michelle Ndegwa, stepping into Neneh Cherry’s shoes for “Kids With Guns,” brought an unflinching vocal firepower, amplifying the track’s post-Britpop grit and carrying it into something sharp and relevant within today’s indie-rock landscape.

The night’s collaborative highlights came thick and fast. “Dirty Harry” saw Bootie Brown swagger across the stage, joined by the Lifted Up Community Choir Youth, who transformed its already sticky refrain into a full-throttle call-and-response. De La Soul followed soon after with “Feel Good Inc.,” still as combustible and communal as ever, sparking mass hysteria as the entire arena danced and recited the chorus back toward those deified artists on stage.

Moments of tenderness cut through the chaos, too. “El Mañana” bloomed into a hushed triumph, Albarn’s delivery weighted and raw against Gorillaz’s signature animations flickering across the back screen. Later, the long-unheard “November Has Come” was resurrected, with MF DOOM’s feature delivered posthumously on-screen, a poignant reminder of his singular impact. Skye Edwards added further depth on “All Alone,” dusting off another rarity unseen since 2006, while Ndegwa returned alongside Rebecca for a joyous “DARE,” neatly side-stepping the absence of Shaun Ryder tonight.

Not every trick landed quite so emphatically. The encored run-through of B-sides—“68 State,” “We Are Happy Landfill” and “Rockit” felt more like collector’s curiosities than necessary inclusions. Yet “Hong Kong,” closed out by Qing Du’s masterful guzheng recital, stitched an elegant, subdued full stop onto an evening otherwise bursting with kaleidoscopic colour.

As a whole, the show was a reminder of Gorillaz’s unique live alchemy: a heady mix of musicianship, animation, and guests spilling in and out of view, always teetering on the edge of chaos yet never losing its beating heart. Copper Box’s acoustics occasionally dulled the finer details, and the lack of side screens meant a pernicious challenge to fully catch the flurry of cameos.

Twenty years on, Demon Days remains not just a record of its time but one that still feels startlingly alive when unleashed in full. The Copper Box may not be the most sonically pristine venue, but for those in attendance this was a bona fide “I was there” night: an ephemeral resurrection of a masterpiece, as brash, soulful and strange as it ever was.

7.5/10

Gorillaz's upcoming album, The Mountain, will be released on March 26, 2026 via Kong.

Tickets for their upcoming tour can be found here.

Photo is courtesy of Phoebe Fox whose work can be found here.