By Cameron Lee
September 24, 2026
The weather for Gorillaz’s first-ever performance in Charlotte seemed ideally suited to the darker, gloomier world of Murdoc Niccals, the fictional bassist created by Gorillaz founders Damon Albarn and artist Jamie Hewlett. The exaggerated evil rock-star archetype is one of four fictional members of the group, alongside 2-D, the vocalist and keyboardist; Noodle, the guitarist; and Russel Hobbs, the drummer. Together, these characters have become the faces of an innovative project that has continually stretched the boundaries of what’s possible in music and media. But on Wednesday night, the fictional world of Gorillaz was brought to life through a deeply collaborative live performance, transforming Albarn’s genre-defying project into something tangible onstage.
With summer officially giving way to fall, a crisp chill hung in the air beneath an overcast sky, setting the mood for the long-anticipated North Carolina debut. For nearly three decades, Gorillaz have remained an intriguing musical force, blending art rock, pop and hip-hop with a distinctive visual world and character-driven storytelling.
When the tour was announced in March with longtime collaborators Deltron 3030 — producer Dan “The Automator” Nakamura, rapper Del the Funky Homosapien and DJ Kid Koala — along with Mercury Prize-winning British rapper Little Simz and a lineup of special guests, it was clear that fans could expect a highly visual, ensemble-driven performance built around expansive live instrumentation.
Right at 7:30 p.m., Deltron 3030 took the stage, occupying only a small portion of the Spectrum Center stage in the traditional one-side setup as Dan “The Automator,” Del and DJ Kid Koala launched into selections from their seminal self-titled rap opera and concept album. Released in 2000, Deltron 3030, a landmark alternative hip-hop project set in a fictional dystopian year 3030, follows a futuristic warrior battling corporate power and a society in decline. It became a pivotal work in underground rap while establishing the creative chemistry that would soon weave its way into Gorillaz.
Performing “Positive Contact,” “Virus” and “Mastermind,” Del and The Automator traded verses while Koala punctuated the tracks with his signature record scratches, backed by simple animations and the group’s logo emblazoned across the screen behind them. As the arena continued to fill, with many still waiting in the merch line wrapping around the concourse, the audience reflected multiple generations and backgrounds. Older fans were visibly locked into Deltron, while some younger attendees appeared less familiar with the trio’s catalog.
Another North Carolina debut, acclaimed British rapper Little Simz brought her expansive hip-hop sound to the stage, blending jazz and Afrobeat textures with high energy alongside an impressive four-piece band. From the chaotic, alternative hip-hop and jazz-leaning “Thief” to the indie-rock-influenced “Young” and funk-driven “Lion” from her latest album, Lotus, Simz moved effortlessly between styles while also making room for more poetic and emotionally layered moments with “Free,” which opened with a sincere a cappella passage.
After taking time to introduce her band members, Simz showcased the lyrical precision that has made her one of the most acclaimed rappers in the UK with “Gorilla.” She briefly stopped the show to check on a crowd member before continuing, eventually closing her set with one of her most recognizable songs, “Woman,” from her Mercury Prize-winning album Sometimes I Might Be Introvert, featuring frequent collaborator Cleo Sol.
It may not have been the intimate venue setting many Little Simz, aka “Simbi,” fans had envisioned for her first Carolina performance, but the set offered a compelling showcase of her musical versatility, commanding stage presence and lyrical prowess.
Albarn walked onto the stage right at 9:18 p.m. in an army-style jacket and beret, saluting the giddy audience to loud cheers as the bansuri, the traditional Indian bamboo flute, and tabla, South Asian hand drums, accompanied the spiritually infused, atmospheric instrumental title track, “The Mountain.” The 12-piece band was revealed against animated scenes of India bathed in a deep red hue, with longtime Gorillaz guitarist Jeff Wootton strumming an acoustic guitar and setting the tone for the spectacle ahead.
Gorillaz’s ninth studio album, The Mountain, released in February, was shaped by Albarn and Hewlett’s travels through India and their exploration of grief, mortality and reincarnation, representing the band’s most expansive embrace of global musical influences. Blending alternative hip-hop, psychedelic pop, funk, reggae and disco with Middle Eastern and South Asian musical traditions, the album features an eclectic cast of collaborators, including Indian classical musicians Anoushka Shankar, bansuri player Ajay Prasanna and sarod players Amaan and Ayaan Ali Bangash, alongside Black Thought, Yasiin Bey, Johnny Marr, IDLES and Omar Souleyman. The album also incorporates posthumous contributions from longtime Gorillaz collaborators including Bobby Womack, Trugoy the Dove and Proof, a founding member of D12, reinforcing its themes of loss, memory and the continuation of life through music. Much of that expansive musical palette was translated to the stage through the band’s live instrumentation, while the dynamic quartet of backing vocalists stepped into the spotlight during the second song of the night, “The Happy Dictator.”
The animated band members — 2-D, Murdoc Niccals, Noodle and Russel Hobbs — made their introduction during “Tranz,” from 2018’s The Now Now, before Albarn made his way down into the crowd early in the set for “Last Living Souls,” embracing fans face-to-face and singing the haunting chorus while shouting “Charlotte!” — the first of multiple salutes to the Queen City and North Carolina. He then broke out his signature melodica for “Tomorrow Comes Today,” the first track from the band’s 2001 debut, before walking across the pit again, dapping up and hugging fans during the upbeat “19-2000.” Many in attendance also caught a glimpse of Posdnuos of De La Soul on the big screen, a hint of his appearance later in the set as the tour features several of the band’s past collaborators in select cities.
The first special guest vocalist was poet and singer-songwriter Kara Jackson, who joined the band for “Orange County” from The Mountain. Bootie Brown, a founding member of The Pharcyde, then brought plenty of dance-driven energy and plenty of crowd engagement to the stage for “New Gold,” the Tame Impala collaboration from 2023’s Cracker Island, before returning later for “Stylo” and one of Gorillaz’s most recognizable collaborations, “Dirty Harry,” from Demon Days (2005). Little Simz stepped back onto the stage with her rapid-fire flow for the electronic, grime-influenced hip-hop track “Garage Palace,” a Humanz-era recording, bringing another jolt of energy to the crowd.
Albarn moved from melodica to guitar, keys and piano throughout the night, showcasing the musical versatility that has helped shape Gorillaz’s wide-ranging sound for nearly three decades. Vocalist Michelle Ndegwa was brought front and center for the outro of “Kids With Guns,” delivering powerful vocals before Black Thought appeared on the big screens, rapping along to “The Sad God,” while Ajay Prasanna’s soaring bansuri solo helped bring the song to a striking close.
After a brief exit and encore break, the somber “Cloud of Unknowing,” featuring the late Bobby Womack, found Albarn at the piano as stark war visuals accompanied the reflective performance. The mood shifted instantly when Del and DJ Kid Koala reemerged for “Rock the House,” bringing the crowd back to its feet with one of the foundational tracks from Gorillaz’s early catalog. “Dirty Harry” followed and felt like a choral celebration, with shimmering keys, driving basslines and handclaps supporting Brown’s furious rap delivery as he commanded the stage and sent another wave of energy through the arena.
The final guest of the evening was, of course, Posdnuos of De La Soul, who joined Albarn onstage and led the crowd through a call-and-response before the unmistakable bassline of “Feel Good Inc.” kicked in. Albarn’s slightly monotone, airy vocals floated over the infectious groove, creating a striking contrast with Posdnuos’ rhythmic rap delivery as the ecstatic crowd danced along.
A melodica and bansuri introduction to “Clint Eastwood” provided another instrumental highlight before the show moved into one of its biggest singalong moments, as Del returned to deliver the 2001 classic, creating a full-circle connection to the opening set and the creative relationship that helped shape Gorillaz.
The night ended with Albarn leading the crowd in chants of “Charlotte, Charlotte, Charlotte” before offering a final “woo-hoo,” echoing the famous refrain from his Blur hit “Song 2.” It was a fun final touch to a night that showcased not only the depth of Gorillaz’s catalog, but also the collaborative spirit that has defined Albarn’s career across multiple decades — bringing together esteemed musicians, vocalists, generations and cultures within the constantly evolving musical world of Gorillaz.
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Setlist:
“The Mountain”
“The Happy Dictator”
“Tranz”
“Last Living Souls”
“Tomorrow Comes Today”
“19-2000”
“Rhinestone Eyes”
“Every Planet We Reach Is Dead”
“On Melancholy Hill”
“Orange County” with Kara Jackson
“Busted and Blue”
“Casablanca”
“New Gold” with Bootie Brown
“Delirium”
“Andromeda”
“Garage Palace” with Little Simz
“She’s My Collar”
“Stylo” with Bootie Brown
“Kids With Guns”
“The Sad God”
Encore
“Cloud of Unknowing”
“Rock the House” with Del the Funky Homosapien
“Dirty Harry” with Bootie Brown
“Feel Good Inc.” with Posdnuos
“Clint Eastwood” with Del the Funky Homosapien
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