SPILL LIVE REVIEW: MORRISSEY @ THE HALL, DÜBENDORF (CH)

MORRISSEY

@ THE HALL, DÜBENDORF (CH)

MARCH 7, 2026

Morrissey, now armed with a new record Make-Up Is a Lie and a new label, arrived at the tail end of his European tour ready to prove that he still possesses everything he has brought to audiences for the last 45 years. The venue was packed with grey-haired Morrissey die-hards mixed with goth teens seeing him for the first time. It was genuinely heartwarming to see parents bringing their children, a reminder that his music continues to pass from generation to generation.

Morrissey’s intro videos began about 30 minutes after the official start time—perfectly fine, as the delay builds tension and is almost expected with him. When the moment finally arrived, Morrissey launched straight into “Billy Budd,” and you could hear the crowd buzzing, people turning to each other saying how good he sounded and that “he’s in good form tonight.” This has always been the Morrissey question: will the show be merely good, or something otherworldly? On this night, it was clearly the latter.

Following with “I Just Want to See the Boy Happy” and “Suedehead” was a bold move, leaning into his back catalogue early. He appeared dressed somewhere between an aging British Elvis and—well—classic Morrissey: shirt almost completely open, flowers stuffed into his trousers, ready to perform. Two songs from the new album followed, the controversial “Notre-Dame” and the title track “Make-Up Is a Lie.” The crowd received them well, edging ever closer to the stage.

His new band lineup is exceptional, easily one of the strongest he has had in years. Carmen Vandenberg and Camila Grey—both contributors to the new album—were particularly outstanding live. Morrissey also reached deeper into the catalogue with rarer selections like “I’m Throwing My Arms Around Paris” and “The Bullfighter Dies,” both arranged beautifully. The venue’s sound was remarkably clear—so good that earplugs felt unnecessary.

As the show entered its second half, he kicked things into fourth gear. “I Know It’s Over” became the emotional centre of the night, perhaps the most heartbreaking rendition of the Smiths classic I’ve ever heard. He hit every high note that one might assume impossible at this stage of his career. This is where the evening took on something close to a religious atmosphere. Fans began rushing the stage, Morrissey visibly delighted as the set pushed forward.

He delivered “Everyday Is Like Sunday” before closing with an encore of “There Is a Light That Never Goes Out.” After tearing off his shirt and disappearing backstage, the message was clear: he still has it. Unbelievably, Morrissey has done it again—re-energized and very much in classic form. As I left the venue, people were crying. I’ll admit, I was a little misty too.

(Photography by Jake Collier)

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Background Photo Credit: Warner Records