Thursday 31/07/03 Luke Haines & The Auteurs @ St Lukes, Old Street, London

A typically austere and aptly-named venue for the latest Luke Haines comeback, this gig at the converted church of St Luke's celebrates the release of 'Das Capital', a reworking of some of Luke Haines' finest offerings. Now that the sometimes barren tunes are rejuvenated by the orchestral arrangements, it's a shame the orchestra weren't included on the original recordings back in the nineties, as then Suede might not have "stolen The Auteurs' thunder" (as Luke was once overheard complaining about!).

Haines appears resplendent in a dashing white suit and commands silence for the orchestra to deliver a blistering version of 'Back With the Killer Again'. After such a long break, it's heavenly to have him back. Transformed from the caustic fellow of 1993 into an altogether cheerful chap, the jagged edges are filed, and his vicious exterior is noticeably softened. He looks slightly uncomfortable in his tailored outfit, like a sneering iguana, a mild lisp emphasises his reptilian qualities, while his deep-set eyes are often hidden in wicked shadow.

'Baader Meinhof', 'How Could I Be Wrong?' and 'Showgirl' glitter with their swooping string accompaniments, while new track 'Satan Wants Me' goes down surprisingly well considering the venue. Haines' sparky dark humour even encourages a smile to crack from beneath his perma-frown, as if he's chuffed to have taken a cheap swipe.

Further back catalogue favourites that are dusted off include 'Starstruck', 'Unsolved Child Murder' and the delicate, withering 'Junk Shop Clothes' from the Mercury-nominated 'New Wave'. The first half finishes with the sinister stomp that is 'Lenny Valentino' before a civilised half-hour interval, after which a visibly relaxed Haines returns minus orchestra.

A rousing 'Meet Me At The Airport' would sit well on PJ Harvey album, while the menacing 'I Shot Sarah Lucas' is an obvious Haines attack on modern artists. 'How To Hate The Working Classes' from his soundtrack to 'Christie Malry's Own Double Entry' is excitedly welcomed, to which he nods grateful affection. Some characteristically oddball witty banter and an unusual harpsichord melee (which sounds alarmingly like the Bergerac theme) signals the end of the encore, and then he creeps offstage with a final grin.