The cartoon collective that redefined what a band could be is back. Gorillaz, the virtual group created by Damon Albarn and Jamie Hewlett, are set to play a one-off show next month, and the buzz is already electric. For those who have followed the band’s journey from the Clinton-era optimism of their self-titled debut to the dystopian pop of ‘Humanz’, this is more than a gig: it is a statement. It is a statement that British music still dominates global charts, even when the band members are animated. It is a statement that the creative industries remain one of the UK’s few consistent export success stories.
The ‘vibe is ridiculous,’ according to one insider, and that is exactly what the nation needs to hear. At a time when the cost of living crisis is squeezing disposable income and regional venues are closing at an alarming rate, the fact that a band like Gorillaz can still sell out a show in minutes tells a story of economic resilience. But it also highlights a growing divide. While London and the South East are buzzing with live events, the North, with its proud musical heritage, is often left out.
The band’s success is a reminder that British music is a global powerhouse. The BPI reported that UK music exports grew by 13% in 2023, reaching over £2.7 billion. Gorillaz, with their unique blend of pop, hip-hop, and electronic music, have been a major part of that. Their 2023 album ‘Cracker Island’ debuted at number one on the UK charts and broke into the top ten in the US. It is the kind of cross-border success that the government’s creative industries sector deal is supposed to support. But as Albarn himself has said, the industry is ‘precarious’ for many. The cost of touring has skyrocketed, with diesel prices and venue hire costs eating into profits. For smaller acts, the dream is slipping away.
Yet Gorillaz thrive. Their one-off show is not just a concert: it is a symbol of what British music can achieve when it is given the right support. The band’s visual artistry, from Hewlett’s iconic character designs to the immersive live experience, is a testament to the UK’s strength in design and technology. It is a high-value export that brings in far more than the ticket price. Think of the merchandise, the streaming revenues, the sync deals. It is a reminder that the creative sector is not just a nice-to-have: it is a key part of the UK economy.
But let’s not be naive. The dominance of British music is not just about talent: it is about investment. The lack of a dedicated minister for the arts in the current government has worried many in the industry. The levelling up agenda, which was supposed to spread opportunity beyond the M25, has largely faltered. While Manchester’s O2 Apollo and Leeds’s First Direct Arena are thriving, smaller venues are struggling. The Music Venue Trust says that grassroots venues, the nurseries of future stars, are closing at a rate of one a fortnight. Without them, the pipeline that produced Gorillaz itself could dry up.
So as fans prepare to sing along to ‘Feel Good Inc’ and ‘Clint Eastwood’ at the show, they should also consider what it takes to keep British music on top. The government must step up with tax breaks for touring, support for regional venues, and proper investment in the creative industries. The band’s ‘ridiculous’ vibe is a joyful escape, but the industry behind it needs serious policy. For now, though, the music plays on. And that is something to grip onto.
Sarah Jenkins, Economy & Labour Reporter
