Gary Numan’s 2025 tour has been a testament to the enduring power of industrial music, and his stop at the Palace Theatre in Albany, NY, was nothing short of a masterclass. As soon as he walked onstage, the atmosphere shifted: a palpable energy filled the room, the kind of anticipation that only comes when a true pioneer is about to remind everyone why he’s so influential. At 67 years old, Numan is far from a legacy act relying on nostalgia; he’s a living, breathing force of modern industrial rock, and this show proved it in every sense.
From the opening notes of Halo, it was clear this was going to be an intense, cinematic experience. The dark, layered synths washed over the audience, paired with thumping industrial percussion that felt both mechanical and alive. Numan commanded the stage with a presence that was equal parts alien and human, moving with purpose across the dimly lit stage as strobes and shadows created an otherworldly environment. His vocals cut clean and precise, a mixture of icy detachment and raw emotion that set the tone for the night.
The Chosen followed, and the crowd was immediately drawn into Numan’s dystopian vision. The song’s driving rhythm and layered electronics underscored the themes of isolation and defiance, hallmarks of Numan’s songwriting. It was impressive to see how seamlessly the band translated the complexity of his studio sound into a live setting. Every note, every beat, carried weight, and the synergy between Numan and his band was undeniable.
By the time Metal kicked in, the intensity in the theatre was palpable. This track, with its pounding industrial backbone and haunting melodies, showcased Numan’s ability to merge cold electronic textures with visceral rock energy. Watching him perform, it was obvious that he is not just a performer but a master manipulator of atmosphere. The lights cut in sharp bursts, shadows crawling across the stage, perfectly complementing the music’s mechanical precision.
Haunted and Everything Comes Down to This slowed the pace slightly but deepened the emotional resonance. These tracks gave the audience a moment to absorb the layers of sound, the introspective lyrics, and the weight of the dystopian narrative that runs through Numan’s work. The Palace Theatre, an intimate but grand space, allowed these subtleties to shine, making the experience immersive and almost cinematic.
Then came Cars. It’s impossible to talk about a Gary Numan show without acknowledging this track, and the audience erupted as the opening synths hit. But this was not a rehash of a classic pop hit; this was a powerful, modernized rendition that retained the song’s iconic hooks while integrating the darker, industrial tones that define Numan’s current sound. The crowd was singing along, of course, but it felt like a moment of collective awe at how relevant and vital Numan still is decades later.
Is This World Not Enough and A Prayer for the Unborn brought the audience back into deeper, more intense territory. These songs, rich with layered synths and metallic percussion, are perfect examples of Numan’s current artistic vision. There’s a theatricality to these tracks that translates incredibly well live. Watching the interplay between Numan and his musicians—guitars buzzing through thick electronic textures, drums hitting like machine pistons—was a masterclass in industrial performance.
The midsection of the show, with The Gift and My Name Is Ruin, was where Numan’s modern industrial sound truly shone. The Gift is a slow burn, a textured exploration of tension and release that had the audience entranced. By the time My Name Is Ruin hit, the theatre was electric. The track’s aggressive beats, pounding rhythms, and almost nihilistic intensity created an energy that was impossible to ignore. This was industrial rock at its peak: atmospheric, emotional, and physically compelling.
Love Hurt Bleed continued the relentless momentum, and it became obvious that Numan’s mastery of dynamics and pacing is what sets him apart. He doesn’t rely solely on the shock or novelty of electronics; instead, he builds tension and releases it with precision, crafting a journey rather than a mere performance. The lights, the smoke, the visuals—all synchronized perfectly with the music, creating a sense of immersion rarely achieved in modern live shows.
Closing the main set with Are ‘Friends’ Electric?, the Tubeway Army classic, felt like a full-circle moment. Here was a nod to his early career, but performed with the gravitas and intensity of someone at the height of their powers. The audience, already mesmerized, was now fully enveloped in the dystopian, industrial world that Numan creates so effortlessly. The track’s mechanized rhythm and haunting melodies demonstrated that Numan’s influence is not just historical—it’s current, alive, and shaping the way modern industrial music sounds and feels.
Throughout the evening, Numan proved why he remains a figurehead for industrial music. The balance between electronics and live instrumentation was flawless, his vocals powerful and nuanced, and the pacing of the setlist made the show feel like a narrative rather than a series of songs. There was a thematic cohesion, a storytelling element, and a performance intensity that few artists, past or present, can match.
What was particularly striking was how modern and relevant Numan sounded. This was not a nostalgic 80s act revisiting hits for an aging audience; this was a contemporary artist speaking directly to the modern industrial rock landscape. Every beat, every synth line, every distortion effect felt current. You could hear the influence on Nine Inch Nails, Marilyn Manson, Rob Zombie, and others, but Numan is doing it in a way that feels fresh and uniquely his own.
The audience response was telling. People who may have been there for the historical aspect or the legacy of the “Cars” era were clearly captivated by the intensity and artistry of the modern set. Applause was constant, cheers punctuated every song, and the sense of awe in the room was undeniable. Numan doesn’t just perform music—he constructs an entire world, and for two hours, the Palace Theatre became that world.
From the opening of Halo to the final notes of Are ‘Friends’ Electric?, the evening was a masterclass in industrial music performance. Every element, from stagecraft to musicianship to the emotional and thematic weight of the songs, was executed flawlessly. Gary Numan proved that industrial music is not just a genre of the past—it is vibrant, evolving, and capable of commanding an audience in ways that few other forms of music can.
If anything, this show should be a wake-up call for anyone who still thinks of Gary Numan as just an 80s synth-pop pioneer. He is not only relevant; he is essential. Watching him perform in Albany was a reminder that industrial music has a living master, and that at 67, Numan is creating some of the most compelling and powerful music of his career. For anyone who considers themselves a fan of modern electronic, industrial, or alternative rock, this is a show and a performer that cannot be missed.
Setlist:
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Halo
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The Chosen
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Metal
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Haunted
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Everything Comes Down to This
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Cars
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Is This World Not Enough
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A Prayer for the Unborn
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The Gift
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My Name Is Ruin
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Love Hurt Bleed
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Are ‘Friends’ Electric? (Tubeway Army song)
Gary Numan at the Palace Theatre in Albany was more than a concert—it was a vivid reminder of why he remains one of the most important figures in industrial music. He has transcended the stigma of being a one-hit wonder, embraced the evolution of his genre, and continues to set the standard for performance, innovation, and artistry in a way that few others can. Anyone who witnessed this show saw history in motion, and it was electrifying.