Collaboration and Solidarity Help Gorillaz Climb The Mountain at Moody Center

On their latest album, The Mountain, Gorillaz contemplate themes of death and the afterlife – inspired by the recent passings of founders Damon Albarn and Jamie Hewlett’s loved ones – and pepper it with posthumous features from collaborators recorded during the cartoon-concept band’s past sessions. Its songs provide the framework for the tour of the same name and, while heavy in theory, Thursday night’s show at Moody Center was anything but a bummer. True to their reputation, the group delivered a dazzler that translated those universal human experiences into an invigorating celebration.

To achieve that, the 14-piece ensemble (comprised of four percussionists, a guitarist, and bassist, plus quartets of backup singers and keyboardists) took thousands of attendees on a two-hour journey, backdropped by a curved, stage-spanning screen projecting eye-popping visuals of the band’s animated renderings throughout.

They kicked off the show with the new album’s Indian-music-influenced opening tracks “The Mountain” and “The Happy Dictator.” Albarn ostensibly embodied the role of the latter – dressed in military fatigues and a beret, he stalked the stage with a distorted megaphone mic amid shades of sitar, traditional woodwinds, and entrancing drums. Those soon gave way to the peppy electro-pop of “Tranz,” which saw the singer’s demeanor veer more toward joyousness and flamboyance. He rewarded the audience’s exuberant response with two trips to the pit on “Last Living Souls” and “19-2000,” where he serenaded front-row diehards while signing as many pieces of merch and memorabilia as possible.

Little Simz with Gorillaz at Moody Center on Oct. 15, 2026 Credit: David Brendan Hall

It was the sort of showmanship that demonstrated genuine adoration for fans, the admirable hallmark of an artist who doesn’t let fame overshadow the audience’s role as an essential part of the concert experience itself – much more than mere spectators. Participation in the party peaked during the epic pulse of “Rhinestone Eyes” and the tour debut of “White Light,” which even sparked a bit of spirited moshing.

“On Melancholy Hill” offered a carefree comedown and preceded a parade of guests: singer Kara Jackson for an arresting assist on “Orange County”; a spot on “Garage Palace” from Little Simz, who opened the show with her own electric set of eclectic hip-hop; Austin-residing rapper Danny Brown for the super-charged “Submission”; and Bootie Brown subbing for Yasiin Bey (fka Mos Def) on the always ecstatic “Stylo.”

And, of course, Del the Funky Homosapien – also the MC for futurist rap trio Deltron 3030, who also opened the show – appeared in the encore for “Rock the House,” followed by galvanizing takes on “Dirty Harry” with Bootie and “Feel Good Inc.,” led by De La Soul’s ever-enigmatic Posdnuos. 

Bootie Brown with Gorillaz at Moody Center on Oct. 15, 2026 Credit: David Brendan Hall

Never shying away from activism, Albarn donned a keffiyeh for the latter part of the show, demonstrating solidarity with the people of Palestine. He elevated that symbol for humanitarian coalition with an aside at the gig’s end.

“It feels like we’re in a very positive place,” he said with a miles-wide grin. “Texas is … a very important place. In the geopolitics, this is important. You are important, and we are here to tell you that.”

It was perhaps a subtle reminder to hit the polls in the coming weeks and, though subliminally serious, it only served to increase the audience’s sense of unified celebration, which reached its summit when Del returned to round out the night with superhit “Clint Eastwood,” a turn-of-the-millenium anthem that never fails to absolutely slay in a live setting. We’ve heard it countless times, but in context, one could interpret the sendoff as a little “sunshine in a bag” for the people of Central Texas to take with them as they move into a future that is full of uncertainty, but likewise great potential.

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