1,434 JODY AND THE JERMS, Swindon The Tuppenny, Thursday 12th March 2026

 

An impromptu short-notice shout, this, and another box ticked in my loose 2026 “live” music resolution to get out more locally. Andy had been recommending veteran Oxford indie-poppers Jody and the Jerms to me after he’d snagged a CD copy of their most recent (4^th!) album, 2025’s “Love Descends” (one of the last of 20, apparently!), his copy arriving with a handwritten letter informing him of their forthcoming Tuppenny gig. So when local music scribe and Tuppenny impresario Dave Franklin also “invited” me to that selfsame gig on Facebook, it suddenly filled a gap between last night’s Vaccines gig and tomorrow’s Bunnymen excursion, giving me an early year 3 in 3! So much for retirement slowing me down on the gig front, then…!

So I popped up the Tupp through a light drizzle, hitting the venue just before 8 and running into the aforementioned Mr. Franklin for a long-overdue catch up and some rock chat while the 6-piece band sound checked. Andy arrived just before the appointed start time, so we wandered around just as the band were kicking off set one at 8.30. “We’ll start with a slow one,” announced guitarist Niall Jeger, his wife and lead vocalist Jody then cutting him of with, “…and then [we’ll] go hard!” That’s what she said…! 

So opener “Forever Running” was, as promised, a quieter opener with a melancholy minor chord chorus, with “Just For Show”, next up, a little more upbeat with a late 70’s strutting New Wave pop vibe and “Sensation” a backbeat-driven collision between DIY C86 jangle pop and more robust Darling Buds-esque summery late 80’s indie, accentuated by Jody’s breathy, lilting vocal style. The set material followed in a similar vein, all delivered with careful understatement (it’s a small pub venue after all, you don’t want to blow the doors off) and casual charm, Jody commenting after the slinky, keyboard driven “Started Something”, “I asked my daughter to get me a Bacardi, and she got me my cardigan!”

The Jerms continued in a similar breezy, toe-tapping vein, with a groovier, rockier “Divine” my favourite of this first set, before a slightly incongruous, ska inflected “A Different Place”, apparently the only one in this opening salvo drawn from the new album! Closer “I Don’t Wanna” then saw a brief pause to proceedings, with Dave, Andy and myself enjoying a brief conversation with Jody during the break, the singer promising a few more newer selections for set 2.

True to her word as well: after opening with “Never Coming Home”, apparently their first ever song but a number featuring some melancholy yet uplifting guitars and a nice descending bassline, newies such as the bouncier “Hooch and Happiness” and the Phil Spector-esque 60’s girl group vibe of “Some Day” featured in a much better second set. However the earlier “Harder I Try” (which Jody announced as her favourite) stood out for me with some resonant Bunnymen-like textural guitar riffery from the returning Pete Millson, and a later “Counting Dreams” was as Smiths-esque as Jody had warned in her intro, with some undulating Marr-like fretwork. A herky jerky closer in “Not In This World” rounded out an overall understated yet beguilingly melodic performance, an encore cover of an old 80’s folky/ cowpunk number by The Boothill Foot Tappers bringing proceedings to an overall close.

A chat with the band and a lengthier discussion on the idiosyncrasies of musical tastes with Andy, Dave and Richard, an affable Canadian gent who’d commented on my Parachute Men t-shirt (“haven’t seen one of those in 30 years!”), before I headed off down the hill to bring night 2 of 3 to a close. A good late shout then, this; ultimately, no trees were being pulled up here, this was just good old fashioned catchy and melodic indie pop from Jody and the Jerms, delivered with charm and Summery smiles aplenty. And there’s nowt wrong with that!

1,433 THE VACCINES, Brigitte Calls Me Baby, Bristol Prospect Building, Wednesday 11th March 2026

 

What do I expect from The Vaccines? Well, I usually expect some bouncy and singalong if a little derivative stadium indie-pop from this lot of Sarf London pop magpies, and I also usually expect my missus (who was on board with them from the off, mainly due to their occasional 50’s Buddy Holly inflections) to want to see them whenever they tour. Personally, I like them fine, but they’re definitely a “Rachel” band for us, so sometimes I go with her (my most recent time being Ally Pally in 2018, gig 1,081), and sometimes I don’t (pretty sure she’s seen them at least twice without me since then). However two things swayed me to join Rach this time around; firstly, the premise of this Spring 2026 tour being a 15^th Anniversary run-through of their spunky debut album, “What Did You Expect From The Vaccines?”, still my favourite of their releases; and secondly, the inclusion of a very promising young American band on their undercard… 

So we set off for Bristol after sorting the kids out with a takeaway, hitting the venue about 7.15 after parking up in a shonky-looking nearby industrial estate. A new venue for me, this recently opened Prospect Building, just around the corner from the now-closed and frankly unmourned Marble Factory, and like said dump is a repurposed large warehouse, with a forecourt featuring eateries and tented benches next to an outdoor bar, attempting to give it a Festy vibe. Cold inside too, although not as Arctic as the MF! We bumped into Andy and Jas by the merch stand and were joined by Matt, chatting before heading into the cavernous hall, grabbing a spot halfway back (the Vaccines massive already sardine-packed down the front) and trying to avoid the pillars! Support, Chicagoans Brigitte Calls Me Baby, joined us at 8; I’d enjoyed their 2024 debut album, “The Future Is Our Way Out” whilst acknowledging an obvious debt to The Smiths in their 80’s jangle pop sound and vocalist Wes Leavin’s yearning, crooner style vocals. Tonight however they focussed on material from their sophomore (yes Wes, I know what it means!) release “Irreversible”, due out this Friday, with newies “I Can Take The Sun Out Of The Sky”, “The Pit” and “Truth Is Stranger Than Fiction” all impressing with pacey, upbeat and undulating guitar-driven verses and big roof-raising choral hooks, despite a distinct and oft-annoying echo on the vocals and drums. A couple of more melancholy numbers highlighted the sharp-suited and razor-shouldered Leavin’s impressive vocal range (coming across all Elvis-like in oldie “I Wanna Die In The Suburbs”) before set highlight, the tremendous “Slumber Party” which opened all Interpol-esque with a doomy one-note opening, before ceding to a thrilling indie gallop. Their debt to Mozzer and Marr’s lot looms large, yes, but there were inflections of other intelligent 80’s songsmiths such as Prefab Sprout (a point acknowledged and appreciated by Leavins during our post-gig chat) and The Big Dish in their big chorused oeuvre. Overall, impressive stuff from a band on the way up – and quickly! 

We squeezed a little further forward before The Vaccines joined us dead on 9 to the strains of The Ramones “Do You Remember Rock’n’Roll Radio” (a bold choice, Matt and I both thought…), taking to a stage which was set up like a 50’s high school dancehall, with red velvet curtain backdrop, drum and keyboard riser and a big “Vaccines” lightbulb sign. Into openers “Blow Up” and the breathless, punkish “Wrecking Ball” to a rapturous reception, vocalist Justin Young already prowling the stage authoritatively, all sunglasses and expansive gestures. “We’re The Vaccines; this is an “F” chord, and this is “Post Break Up Sex”,” introduced the man for an early knockabout singalong highlight, and a rollicking “Norgaard” was also an early highlight for me, although it was later topped by the predictable “If You Wanna”, a certified rambunctious indie dancefloor-packing banger, and more surprisingly “Family Friend”, a Velvet Underground-like slow build accentuated by Young’s passable Lou Reed drawl, culminating in a speeded-up outro gallop.

That pretty much concluded the “What Do You Expect?” run-through, the band dispensing with all 12 numbers in barely half an hour with a comment of, “that album changed our lives and hopefully soundtracked some of yours”; however the concrete flooring was taking its’ toll on my knees, so I repaired to the large merch/bar back room, grabbing a seat but still hearing the likes of the chugalong “Heartbreak Kid” and impressive late double of the soaring “I Can’t Quit” and the pounding drumbeat of “Teenage Icon” perfectly well. The BCMB boys set up a table next to the merch, so I grabbed a quick chat and pic before the Vaccines set ended, meeting a buoyant Rach (who loved it and invested heavily in a Vaccines hoody to underline it!) before a short-cut out and swift drive home. So, what did I expect? What I got really; some fun knockabout indie pop energetically delivered by The Vaccines in a somewhat unimpressive venue, a promising support already fulfilling considerable potential, but most importantly a happy wife. And that’ll do nicely!

1,432 NICK PARKER, Flo Parker Bombosch, B Sydes, Swindon The Hop, Friday 6th March 2026

 

Right, this one makes 3 gigs in Swindon so far this year, so I’m already up on 2025! And a welcome return to my Dance Card as well, after a 2 year absence, for Glastonbury’s folk/ punk solo acoustic guy Nick Parker. We’d actually attempted to get Nick to do a short turn at my 60^th Birthday Party last year and things initially looked promising; however the man had an offer to play at Glastonbury Festival instead so took that up. Damn Glasto, but I can’t blame him really! Anyway, this date kicks off a short Spring tour for the man and unfortunately, due to other gigs and family commitments, is the only one on this jaunt we can get to! No back-up band for this one, then, but a couple of familiar yet welcome supports to augment Nick and his wry wordplay, observational lyricism and easy folk-tinged harmony. A good one in prospect, then… 

It being local and on a Friday, Logan and boyfriend Kristian joined me as I drove up the hill, parking behind the Vic and wandering into the Hop, running into old Lev mate Rich Carter and his new lady for the first time since Frank Turner’s show 3000 last year! Quick catch up before we headed upstairs, grabbing a spot near the front, house left for the first support, namely Swindon’s own (oh yes he is now!) B Sydes. Reacting to the hearty applause from the already amply-filled room with a self-deprecating, “I wouldn’t applaud too soon – it’s my first gig of the year!”, Ben nonetheless set to his task with a focus and determination to get the crowd properly warmed up. “Crutches” was as ever a great start, taut and tense as ever despite a mid-song glitch (“I blame my guitar – it’s Nick Parker’s old one and I’m terrified of it!”) and urgent, insistent newie “Streaming Infidelities” featured an audience harmony singalong outro. A couple of other new numbers, including a dark, sinister emo-tinged “Beast” and a more measured and melancholy Dashboard-esque closing “Head Full Of Screams” (the title track of his forthcoming album) featured in a surprisingly short-feeling yet rousing, inclusive and in-your-face set as ever from the irrepressible Mr. Sydes. 

The Big Man joined us down the front for the first Parker of the night, namely Nick’s daughter Flo Parker Bombosch, flying solo tonight and next up at 8.45. In contrast to Ben’s more overt emo-esque delivery, Flo demonstrated that a whisper can be as powerful as a shout, her perfectly enunciated set as delightful and absorbing as it was understated and introspective, happily reciprocated with a pindrop-perfect hush by the now-packed Swindon crowd. “On This Rock” was a wistful alt-Americana ballad; a more textural new number featured an impressive octave-straddling repetitive choral hook; and “Half A Year” had a lovely pastoral slacker vibe. In between numbers, Flo lamented her home-moving status (“[I’ve] only 4 CDs [for sale tonight] as I’m moving home and packed up by accident!”) before praising our attention with, “you’re such a respectable audience… no, respectful!”. Lovely stuff, once again!

Kept our front spots for Nick’s arrival at 9.30, the svelte Mr. Parker opening with oldie “Here With You”, a diss track for unimaginative punters, then following up with a more upbeat, jolly and singalong “Down With The Yoof”. Commenting on the opening track, he then resolved to, “stick with the singalong ones!”, keeping said promise with a lively “Never Been To Dublin”, really getting the crowd’s vocal chords working!

Thereafter Nick delivered a wonderfully engaging, warm-hearted frothy mug of cocoa of a set, his familiar hooky melodies as ever shot through with incisive and impish wordplay and plenty of between-song exposition, bonhomie and banter. An early duet with Flo led to a dad-joke level running pun-fest centring around Pearl Jam’s “Evenflow” (even Flo?), Nick even commenting that a Nirvana tribute band featuring his daughter might be called “Smells Like Teen Bedroom”, with Flo indignantly retorting, “I’m 25!” “Departures” was a brilliant roof-raiser from the off, Nick presciently remarking after the intro, “this is going to be so much fun…!” and lamenting afterwards, “I wish I was recording [that singalong] for a live album!” “Living Again” was a melancholy, stark yet beautiful outlier to all the upbeat carousing; the retrospective 80’s tribute “Half of the Moon” was preceded by a lengthy explanation as to the “Chuckie Egg” tour name and merch; and Ben joined Nick for a rollicking rendition of The Weakerthans’ “Aside”. Flo then returned for a delicate and wistful “Guess I’ll Never Know”, Nick thanking the crowd for their attentiveness for her set, then after an uproarious “Wild Rover” (featuring slightly amended verses!), a thoroughly entertaining set concluded with “Es Tut Mir Leid” (Logan and Kristian acting as 2 of the placard holders!) and a fun if throwaway version of Sheryl Crow’s alt-country staple “If It Makes You Happy”, featuring all 3 of tonight’s performers. Quick compliments and farewells to all and sundry, and we headed off just before our parking ticket expired. Excellent, singalong fun night out, thanks to Nick and Ben… and even Flo!

1,431 KEELEY, Shoun Shoun, Bristol Exchange (Basement), Friday 20th February 2026

 

I’m starting a bit slower with Keeley this year; by this time last year I’d seen them 3 times already! However, my hectic half term week concludes today with a first – the first time I’ve actually seen indie rock scholar Keeley Moss’ eponymous trio of shoegaze-adjacent pop dreamers headline a gig in their own right! Said gig is part of a short headlining tour promoting new, 3^rd album “Girl On The Edge Of The World”, actually being released today and seeing the band continue their lyrical exploration of the life and untimely demise of German backpacker Inga Hauser. Not having heard this album yet, I’m going a little cold into this gig, but Keeley herself has called this their best work yet, and told me directly when we met up at that ill-fated MBV gig last year (gig 1,417) that the band are currently “on fire” “live”. OK girl, big talk… let’s see!

Feeling a bit tired, both physically and mentally after this week’s shenanigans, so I made a late departure down the M4, parking in a part-time loading spot opposite the venue just after 8. Made my way downstairs into the smaller but similarly shaped Exchange basement room, the only difference being the stage was in the corner, around the corner! Keeley and bassist Lukey were in earnest conversation at the merch stand so I didn’t disturb, but took a viewing spot for openers Shoun Shoun at 8.15. I remembered liking them when I first saw them a few years back (gig 1,205) and even buying their CD (which needless to say didn’t escape my recent purge). I must have been in a completely different headspace then, as since then, they’ve made less sense to me each time, I’m afraid. Their opener answered the question as to what a reggae/ grunge fusion band from Morocco and fronted by Grace Jones would sound like (!), and the next number was an odd melange of Stereolab monotone rhythm and Rah Band glam stomp. A couple of goth racket numbers later, I was too tired to take any more of this baffling eclecticism, so headed back to the car for a sit down! Back in for their last knockings, which convinced me I’d made the right choice. Sorry folks, not for me.

I took a spot against the wall, house right, as the band set up, Lukey spotting me for a quick greeting. A slightly later than scheduled 9.20 saw Lukey lead the trio on to a suitably ephemeral synth backing track, opener “Hungry For The Prize”’s staccato one note opening leading into this robustly despatched groovy CBGB’s bluesy punk newie, powered as ever by Keeley’s deep, rich vocal tones. “We’re honoured to spend our new album release day with you!” Lukey announced before the taut, fast-paced and aggressive newie “Crossing Lands” impressed with some punchy, Gang of Four-like (Lukey and I both agreed afterwards!) rhythm and choppy guitar. Two down, both new numbers, both very different, both very impressive! 

This tone continued throughout the set, the first half-dozen being new album choices, and the subsequent 2 being offcuts from the new material, varying stylistically from that punchier opening double, through shimmering and resonant mid-paced bliss-out strumalongs (viz. “Who Wants To See The World”), to stately and pastoral shoegaze (the excellent “Big Brown Eyes”, the “emotional centrepiece” of the new album, according to Lukey), delivered with conviction by a rapidly improving band and as ever shot through with a heavy dose of melancholy, given the subject matter. And, throughout, both Keeley and Lukey were in expansive, gregarious mood, bigging up the new album and guest vocalists Miki Berenyi (our shoegaze queen) and Sice of the Boo Radleys, blasting the disgusting likes of Farage and the political right, and emphasising the redemptive power of music, particularly shared “live” experiences in small venues, with Keeley correctly pointing out, “small venues are where the life changing moments happen”. Damn right!

A tongue in cheek call to “play the hits!” led to a powerful and strident final 3; “the punchy “Inga Hauser” giving Lukey a proper workout; the baggy, Stone Roses-esque beat and thrashier chorus of “Forever Froze”; and finally an absorbing and meandering “Trans Europe 18”, rounding off likely the best set I’ve seen from Keeley and her boys. A quick merch stand chat with the band afterwards saw me eventually head off, signed setlist and new CD in tow, for a ¼ to midnight arrival home. A slow start this year with Keeley for me then, but on this current form I’d be happy to see them again and again. Big talk, maybe, but right now Keeley are also walking the walk!

1,430 COACH PARTY, Lizzie Esau, Hunny Buzz, Bristol Thekla, Thursday 19th February 2026

 

A hectic half-term gigging week (3 in 4 nights!) continues with this one, bringing up double figures for the Isle of Wight’s finest, bratty indie and increasingly punkish combo Coach Party, and a welcome return to the Thekla for them, for the first time since a superb October 2023 set (gig 1,296). We’d booked this one back in June last year (!), but since squeezed in an “outstore” show at the Oxford Jericho last Autumn (gig 1,407) to celebrate the release of sophomore album “Caramel”, the band taking that opportunity to play said new album in its’ entirety. Cranking up the volume, speed and attitude a few notches, “Caramel” sees the band in punkish, confrontational and almost riot-grrrl mood, delivering a set of proper filling-rattling choons with a serious potential to punch a hole in the “Dirty Boat” and sink the motherfucker! 

Peej and I set off early for this 6.30 doors gig, parking up shortly after doors after a happily incident-free run down, grabbing a spot near the front, house left and next to old gig buddy Alfie! Not long to wait for the openers at 7; a major reason for our early arrival was Coach Party’s decision to add a local band to open each date on this tour, happily selecting kindred spirits for this gig in Bristol’s own Hunny Buzz. I’d spoken about Coach Party with da Buzz after their splendid Deep Sea Diver support slot last November (gig 1,414), their verdict being they’d love to play with them. OK, you got your wish folks, now deliver… buoyant indie pop opener “Mine” was followed by “Car Collision”, a tremendous breathless and hooky slice of punkish effervescence, and the slow-fast momentum-building “Joyride” (preceded by an emotional tribute from vocalist Lydia Read to a recently-passed friend), showing a number of strings to their 90’s-influenced indie bow. The stomping grunge of “Sweet Perfume” saw a cameo from Coach Party drummer Guy on guitar (!), “Love Her” had a very 90’s slacker vibe, and a rapid opening set was capped with an excellent “Hey Mary”, a subtle and classy build to an infectious choral hook. Excellent set from a band rapidly fulfilling potential… 

Main support Lizzie Esau and her band were up next; I’d not checked them out beforehand so was coming in cold, and they impressed from the outset. Another female-fronted 90’s referencing grungy indie lot, maybe, but, different to the openers, their general vibe was moodier, with more understated mid-paced material delivering a beguiling mix of melody and malevolence, accentuated by the tiny and striking Lizzie’s yearning and occasionally higher octave and almost operatic tones (esp. during the slo-grunge mid set “Lazy Brain”). Brooding opener “Wait Too Late” was a brooding beast with an environmental message, “Day In The Life” (introduced with, “this is about shit jobs – anyone got one?” – not me, I’m retired from mine!) was a more upbeat clapalong outlier, and closer “Bleak Sublime” was again a slo-burn opening building to a moody, Garbage-esque choral hook, Lizzie admonishing the crowd to sing along. Impressive stuff overall! 

A chat with Peej and Alfie down the rapidly-filling front bumped us up to 8.45, Coach Party taking the stage to an “Eve Of Destruction” (no, not that one…) synth track intro, and straight into the harsh, heavy opener “Do It For Love”, vocalist Jess Eastwood’s off-kilter, discordant and dismissive choral vocals already a feature. Oldie “Can’t Talk, Won’t”, next up, was brilliant, this Sleeper-esque oldie given more oomph and bite tonight with heavier guitars (courtesy of a mysterious 5^th member!) and a thrashy extended outro, before an early outlier of the twinklingly dreamy “Be That Girl” was preceded by Jess welcoming the audience before deadpanning, “there’s always a bigger crowd [here] for the disco afterwards!” 

“BTG” proved a proper outlier for the set, as tonight Coach Party brought the noise, cranking up volume, pace and scarily wide-eyed conviction with the likes of a rampaging, aggressive “Nurse Depression”, the acerbic diss track “All I Wanna Do Is Hate” and a frankly awesome squalling double noise-fest of “Parasite” and “Disco Dream”, Jess often bending double on the floor to deliver her screamed vocals in the manner of Seafood’s David Line. In fact, much of tonight’s performance recalled our millennial “live” faves da’ food; the savage punk rock electric guitars, the kinetic dynamism, that thrilling sense of tumbling chaos and catharsis… “What’s the Point In Life” was comparatively sedate and subdued, before the ante was upped again with “FLAG” and finally “Girls”, Jess inviting the girls from the crowd to join the band onstage before abandoning it herself to deliver her primal scream vocals from the pit, before joining band, girls and the “Caramel” front cover chap onstage for the finale of this full-on punk rock set. Quick chats with the besieged bands at the merch before an easy drive home, back for 11 after a redemptive experience. After a splendid but problematic night out last time, I was looking for an easier gig tonight, and this one delivered threefold!

1,429 SUEDE, Bath The Forum, Tuesday 17th February 2026

 

Well, that didn’t go as I’d planned… but, as ever, let’s begin at the beginning…

Either eager to show that it wasn’t a one-off last hurrah, or, as I suspect, more like not giving a crap what anyone thinks of them right now and just writing and releasing what the hell they feel like, 90’s glam sleaze auteurs and Bowie disciples Suede managed to top their stunning return-to-form 2022 album “Autofiction” with last year’s brilliant “Antidepressants”. Unlike its unlucky predecessor (which lost out by a hair to Editors’ similarly redemptive “EDB”), “Antidepressants” topped my 2025 Album of the Year ballot by some considerable distance, continuing the powerful and strident dynamics of “Autofiction” but merging them with a more brittle, claustrophobic cold war feel, inviting for me comparisons with 70’s post punk greats such as Magazine, Comsat Angels and even Joy Division in the process. A trip to see this material in full force and effect was pretty darn essential, then, so we booked for the Bath date, midway through the early 2026 tour.

Rachel was able to join us this time (having had to give up her ticket last time, gig 1,271), as was old buddy Beef, so we set off in good time to arrive just after 7 p.m. doors and catch a highly promising support in goth-tinged post-punkers Bloodworm. All going well, until we hit a massive pothole 3 miles North of Bath; I initially continued driving, but it quickly felt like I was driving on gravel, so pulled over into the Walcot RFC club entrance off the road, to discover a blown-out front tyre. Bollocks! A 10 minute wait to get connected to Green Flag then turned into a 1½ hour wait for the technician to arrive; to be fair, he was excellent and got us turned around quickly, but it meant we actually got going again at 8.45, exactly the time Suede were due onstage. Bugger! To pour salt onto the wound, I then fucked up our directions, pulling into the side road next to the Forum in the belief that it led to the big open-air car park, only to find it was a cul de sac full of the band’s coach convoy! Wasted a good 5 extra minutes extricating the car from this bollard-lined side road before detouring around the ring road to eventually park up. Double Bugger! 

Thus we made a frantic entry to the gig at 10 past 9, just as Suede were kicking into the 6^th number on the set (our arrival ensuring we’d missed a couple of potential highlights in newie “Dancing With The Europeans” and the evergreen anthem “Trash”). Rach hit the loo and I squirmed my way down the front, pitching up 3 or 4 rows back, house right before the sardine-tight crowd prevented further forward progress. So our first number, the jagged off-kilter hobnail boot-stomper “Personality Disorder” was followed by the stark ballad “Pale Snow”, the band already changing up the mood and tempo of the set between fast and slow, anthemic and introspective, light and shade. And singer and mainman Brett Anderson, as ever, was everywhere; already Sweaty Bretty after barely half an hour, he was running across the stage like a demented puppy, on and off monitors, in and out of the photo pit, in everyone’s faces (literally, for the barrier folks!), constantly demanding more from himself, the audience, and his splendidly proficient if slightly anonymous bandmates. No, Brett was leading the charge, his performance so good I was actually livid that I’d missed so much of the set, conversely being unable to settle into the gig and really enjoy myself. Damn that fucking pothole!

Thankfully, a brilliant, sweeping “It Starts And Ends With You”, the actual mid-point of the set, snapped me back into the room. Brett’s vocals, a little ragged and off-key during an earlier “Outsiders” (legacy of all the physical effort, I guess), were better, powering a roof-raising audience singalong. This heralded an absolutely tremendous set section; a soaring “New Generation”, the hushed build of “June Rain” leading to a bleeding-raw choral crescendo, the careering punk rock double of “She Still Leads Me On” (my overall highlight of the set) and a moodier, pseudo-Goth “Shadow Self”, then a quite beautiful “High Rising”, delivered voice and piano only, Brett’s deep sonorous vocals partly delivered off-mic to a pindrop-hushed audience.

The slashing glam riffery of oldie “Metal Mickey” and another soaring singalong in “Beautiful Ones”, Brett going crowd walkabouts in my corner to kick this one off, rounded off the set, Brett praising the Suedeworld crowd with the comment, “Bath, you have been beautiful!” One encore only in “The Only Way I Can Love You” ended a 1½ hour performance, of which we missed 5 songs and 25 minutes. A quick squirm to the front and a polite shout got me a list, then I ran into friends Jo and Andy Ashley separately for quick chats before meeting Rach and Beef at the merch, briefly apologising to the Bloodworm boys for missing them, before a happily quieter journey home. Suede on great form then, so on reflection I’m glad I got to see what I did!

1,428 SUDS, Soot Sprite, Hamburger, Bristol Louisiana, Friday 6th February 2026

 

Back on it the night after saying farewell to a beloved shoegaze/ dreampop combo in Mew, but this time out to see a band with a broadly similar sonic template, who might just be around on my “Dance Card” for a few years yet…! Logan and I had crossed swords with Norfolk’s Suds just the once before, their impressive set supporting Spanish Love Songs in Southampton in 2024 (gig 1,312) prompting comparisons with early 90’s faves Madder Rose with their blend of pastoral slow-burn ethereal stuff and more frantic, harder-edged pacey numbers, underlined on debut album “The Great Undergrowth”. Last years’ sophomore effort “Tell Me About Your Day Again” was however a more cohesive effort, a more defined shimmery dreampop sound overlaid with some well-constructed and brain-hugging tuneage, thrusting it comfortably into my Top Ten albums of 2025, and prompting me to book for the Bristol stop on their headlining tour.

I couldn’t persuade Logan to join me, however, so it was a solo trip down the M4, parking up opposite and heading in just as openers Hamburger were taking to the tiny upstairs room stage. Their set veered between quiet, slow burn introspection and more upbeat, C86 influenced jangle pop, the band’s set neatly alternating between these 2 styles! I particularly liked “Punk Rock Star”, an early faster number, and their final number, a breezy Razorcuts-esque indie gallop with ringing choral guitar licks and a “woah-oh” hook delivered in the vocalist’s distinctive falsetto. A work in progress, sure, but a pleasantly promising start. 

Took a break outside and had a chat with Suds’ imposing but friendly bass man Harry Mitchell, prompted by my overhearing that the band were staying in Swindon tonight! Back upstairs for 8.30, as main support Soot Sprite were kicking into their driving, upbeat 90’s post-grunge-tinged opener “Surprise Guilty Party”, vocalist Elise Cook already giving it full beans with a strident and powerful vocal. “All My Friends”, next up, ploughed a similar furrow, albeit in a more morose, brooding manner, and so far the set was developing nicely into a power-chord driven 90’s homage. However, “Doomed” stripped back the noise, revealing a splendid yearning and melancholy choon with a soaring chorus, the subsequent “Wield Your Hope Like A Weapon” continuing this mood, again powered  by a slightly atonal yet punchy vocal from Elise. A new guitar band with more than one string to their bow, then, Soot Sprite impressed with both their varied sonic template but also, and more importantly, with some hooky choral tuneage. I’m all about the tunes, me…

Took a step forward from my house right spot, pitching up front and centre (and prompting Soot Sprite bassist Sean Mariner to comment during our later conversation, “I saw you [do that] and thought, this guy’s going to have a good time tonight…!”) for Suds’ arrival at 9.20 in front of a full room. “We’re Suds,” announced diminutive vocalist Mae Carter, “this is our favourite city to play in!”, powering into breathless, driving opener “Paint My Body”. “Until I’m Fine”, a more angular, hazy and pastoral number touching on dreampop, followed, with bassist Harry, already working up a sweat for his art (good man!) subsequently admitting he’d nicked his stage towel from his house, so was glad his mum wasn’t here tonight! 

Veering between their various styles with effortless ease, Suds tonight delivered a splendid and captivating set where you didn’t really know what to expect next, a neat trick for a young band only on their 2nd album. “Made You Grow”’s undulating riff underpinned a dual harmony-powered pacey blast; drummer Jack Ames stepped forward for a lovely hushed duet with Mae for “Holding On”; “Heavy In The Air” was a breathless blast recalling Madder Rose’s “Live Forever”; and after 5^th member Pedro was introduced later in the set, “The Great Undergrowth” was a melodic strumalong rocker.

However, closer “Terrible Thing” was the highlight of the set for me; their “Killing Moon” or “Car Song”, its’ stately and relentless march built to a widescreen octave-straddling brain-hugger of a choral outro. A great way to end a splendid set from a band destined to become a fixture on my Dance Card. A quick (and aforementioned) chat with Soot Sprite drummer Sean saw him write me out a list (chap!), then I chatted briefly with the Suds folk, collecting scribbles on their list in the process. On my way home shortly thereafter, challenging Harry to a race back to Swindon in the process! Back about 11.30. So, fears during the day that tonight’s gig might be a case of “After The Lord Mayor’s Show”, following last night’s stellar Mew gig, were well and truly allayed. A couple of excellent performances from Soot Sprite and the very fine Suds!