A darkly melancholic performance defines Nine Inch Nails' last UK show

With the air thick with rumours that this is to be Nine Inch Nails' last ever UK gig, there's a certain crackle of anticipation running through the sizeable crowd that's gathered this afternoon. Rock 'n' roll lore would have it that it's better to burn out than to fade away, but then Trent Reznor and his collaborators have never much cared for convention, whatever its guise. So, instead of the incendiary, heart-in-mouth performance that constitutes a 'standard' NIN gig, their set tonight is a measured farewell, more of a funeral march than a swan dive.

As Reznor emerges from an ocean of smoke, the telltale signs are present from the off as we're greeted with unremarkable slow-burner 'The Way Out is Through'. Despite a tantalising foray into more mosh-able terrain with the breakneck rendition of 'Wish' that follows, the tone is fixed; what we’re witnessing today is more modern classical than metal, with the onus on piano driven, introspective songs.

A brooding 'Something I Can Never Have' stands tall as a definite highlight. Accompanied with cello, it's a profound rendition, bristling with emotion and endowed with real menace courtesy of Reznor's hushed vocals. Though it's not quite what the crowd were expecting after a day of relentless circle pits, they're clearly mesmerized, raptly observing the band's every move in near-religious silence.

Until 'Hurt', that is. If there's one song Reznor can't omit, it's this of course, and his performance of it today is truly jaw-dropping. Preceded by epic instrumental 'The Downward Spiral', the band move into the song effortlessly, much to the audience's delight. As it progresses towards a pounding conclusion, Reznor wrings every ounce of emotion from his voice, to stunning effect. Even with every person in the crowd screeching along, nothing can spoil such a magnificent, elegiac ending.

It has to be said, it's a shame there's no space for any of the more raucous tracks from NIN's oeuvre tonight. With no 'Closer' or 'Head Like a Hole', the filthy, thrusting industrial-dance for which they're notorious is entirely absent. With another group, such a willfully obtuse setlist might smack of self indulgence. But the delicacy with which NIN unfold each song this afternoon makes it clear there's nothing careless or cavalier about what we're witnessing. Were it not for the emotion constantly simmering in Reznor's voice the performance would almost seem too precise, too mechanical in its execution. As such, seeing Nine Inch Nails play like this actually feels like a privilege, such is the confounding beauty of the performance.

There are no grand speeches or goodbyes to end on; as always Reznor lets the music do the talking. And in all honesty you’d be a fool to blame him; darkly melancholic yet jarringly beautiful, this afternoon it leaves a unique, bittersweet impression. Let's just hope this isn't the final curtain.

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