This is the biggest indoor gig I have ever been to (apparently I was also here in 1990 to see the Happy Mondays, but for one reason or another, I can't really remember that). The fact that Hall 2 of the SECC is so huge and hangar-like makes two things immediately apparent: it's bloody cold, and the acoustics are terrible. Give me a tiny wee venue with condensation dripping off the ceiling and the PA making the floor shake any day. However, the size of the venue shows how popular the Manic Street Preachers are today, also shown by the diversity of the audience. From the original mascara and fake fur fans, via yer average indie kid, to the beered-up lad brigade and the teenage Girl Power gangs (with the odd middle-aged couple here and there), the Manics fanbase is an eclectic beast to say the least. Post Brit Awards-triumph and Top Ten success, the Manics are now practically a household name and, although some of the early fans may hate the fact, they appeal to a large cross-section of society. Not bad for a band that originally set out to release one LP, then crash and burn.

Support came from the mighty Boo Radleys, who played a greatest hits set with enthusiasm and energy. Two things were set against them though: the terrible sound, and the relatively indifferent audience. As noted, the acoustics of the venue were bad to begin with, but the Boos' PA seemed to be very thin and weedy, making songs such as "C'Mon Kids" sputter instead of blowing people away. Mellower numbers like "Lazarus" and "Ride The Tiger" were completely swallowed up by the carvernous space, and you could hear the sound of chattering Manics fans over the top. Even cast-iron pop classic "Wake Up" sounded flat and tinny, making the Boo Radley's set a bit of a disappointment, but through no fault of their own. In a smaller venue and in front of their own audience, the sonic assault that the Boos are capable of producing is much more effective and uplifting. Here, they were just a mild diversion from the indie hit songs being played over the venue's PA.

The support's failure to ignite the place cast some doubts as to whether the Manics themselves would be able to fill such a wide open space. However, as the swelling orchestral backing to "Design For Life" rolled out from the speakers, these doubts were cast aside faster than the time it takes you to switch off Channel 5. Playing as accompaniment to an effective back projection of contasting scenes of riot police, fox hunters and lager louts, the familiar strains of "Design" successfully got the audience up to fever pitch, all fashion and style differences set aside as we waited in anticipation for the band. On they came, and launched straight into a powerful version of "Australia", James whirling round with his guitar as Nicky jumped up into the air like a skinny rocket. Sean, obscured by the kit, made his presence felt by his usual tight drumming, and the band were also aided by a keyboard player to flesh out the live sound.

Fortunately, the sound problems that had plagued the Boos were not present here, and the Manics songs managed to fill the huge space with ease; epics like "Faster" and "From Despair To Where" fitting the size of the venue well. The back projection was used to great effect during "Faster", the words being punched up on the screen as fast as James spat them out, and also during "La Tristessa Durera" and "No Surface All Feeling", the visuals (handwritten words and hypnotic flames respectively) adding to the impact of the songs. "Kevin Carter" was a highlight, with live trumpet, as were all the songs off "Everything Must Go". Older songs, although obviously not recognised by all the audience, were just as wildly received, and it was a treat to hear numbers such as "Motorcycle Emptiness" and "Repeat" played live.

Between-song banter was kept to a minimum, with James merely saying "thanks" a couple of times - although he did humourously introduce the rest of the band members at one point. However, their enjoyment at playing to a large crowd and together was obvious, Nicky's grin threatening to take over most of the stage at several points. Even without the visuals of the projections, the band were good to watch, always on the move and always exciting. And needless to say, the front 30-odd rows of the crowd resembled a small war.

As is now traditional, two-thirds of the way into the set James played a trio of solo numbers: "Small Black Flowers That Grow In The Sky", "Can't Take My Eyes Off Of You" and "Raindrops Keep Falling On My Head". His dynamic, powerful voice (surely one of the best in music today) and tight, punchy guitar playing filled the venue more than all the members of the support band had done, and also allowed Sean and Nicky a well-earned rest.

Finishing with the immortal "You Love Us", played in front of images of the Generation Terrorists-era Manics (complete with Richey), the band closed a fantastic and varied set. The only minor criticism was the lack of anything new in any way: the band have been playing this set for a year now. Understandable, given that they must be the hardest working band in Britain, but surely they have written something new by now? No doubt after this tour however, and any festival appearances they make in the summer, the band will return to the studio, to create what will be the most eagerly-anticipated new material this side of the next Oasis single.

Vital as ever, the Manics once again proved themselves here as a vastly important band: intelligent, passionate and committed. Always shining live, they deserve every last bit of the success they have achieved, and have become one of our most important groups. We Love Them.