Suede are in stellar form as they continue their electrifying residency at the Southbank Centre in London. Our Music Editor Emma Harrison was there to witness the magic and from the moment the lights went down to the final encore, the band delivered a performance that left the crowd spellbound.
There’s nothing remotely nostalgic about Suede’s new post-punk album ‘Antidepressants’ – far from it. In fact, despite its post-punk leanings, it hones in on both on a micro and macro level how we feel about the ‘tensions of modern life – the paranoia, the anxiety, the neurosis. A jagged throb of relentless pulse of post-punk tension, it has fast become an invariable tour de force in Suede’s impressive catalogue and was conceived as a considered sequel to 2022’s gritty but grandiose ‘Autofiction’.
Suede’s Southbank Centre Residency
Whilst material from the band’s newest album certainly punctuated Suede’s spine-tingling set which formed part of their six-night Southbank Centre takeover, fans were delighted to a great selection of fan-favourites and deeper cuts which included a brand new live debut of ‘Crackhead’ the B side of ‘Everything Will Flow’ from Suede’s fourth studio album ‘Head Music’, a track that could have easily been a single and album track in its own right (it was later released in the expanded 2011 remastered and expanded version)
Suede hits the stage and within less than ten seconds, the crowd are on their feet (despite being a seated venue) and the roof is ready to lift off. Frontman Brett Anderson is debonair, like a man possessed from the first note and impressively maintains an unbelievable level of energy throughout, dropping to his knees, jumping on and off monitors (I may try this in lieu of the gym!) and sauntering through the sold-out crowd akin to a gladiator or royal greeting his loyal subjects.
An energetic and enthralling performance
The band are the epitome of consummate musicians and all play their part in delivering the drama, with Richard Oakes delivering distorted riffs that rang out with a jangled, echoing edge, byt it is Brett with his unrelenting energy, charisma and captivating stage presence who really elevates the show.
Without a doubt, Anderson has to be one of the finest frontmen of his generation, think a compelling mix of Bowie’s effortless cool fused with the high-octane swagger of Jagger. Every few minutes, he whipped the crowd into a wild frenzy, waving his arms in the manner of a whirling dervish encouraging the crowd to cheer with a rousing refrain of ‘Come on!’
He leapt off the stage twice, most notably during an emotive acoustic rendition of ‘Life Is Golden’ from 2018’s ‘The Blue Hour’ where he grabbed the hands of various members of the enraptured crowd. This was more than a love letter from musician to his adoring fans, this was a love dialogue throughout with fans singing along to all tracks, even trading lyrics with Suede’s new material.
Swirling guitars and a hurricane of sound
A powerhouse of athleticism and raw energy, a tornado of all-consuming animalistic kinetics, Brett pours every bit of himself into the performance with magnetic intensity and a hurricane of sound.
He even has the crowd in the palm of his hands in the more tender and slower moments such as on ‘Trance State’, where he mutters the closing refrain ‘do not drive, do not operate heavy machinery, avoid alcohol’ which speaks like a poetic reading off a prescription label, while swirling guitars spiral into a woozy, glitter-drenched haze. It’s a heady cocktail of vulnerability and gritty glamour that pulls you under and leaves you wanting more.
Broken Music For Broken People
Despite Brett Anderson describing ‘Antidepressants’ as ‘broken music for broken people’, Suede’s career-spanning immaculate set felt nothing short of celebratory. The band kicked off with the anthemic ‘Disintegrate’, a driving, visceral track that sets the tone with its exploration of mortality. After such a blistering start, they segued straight into ‘Antidepressants’ sophomore track, the euphoric ‘Dancing With The Europeans’ which is fast becoming a real crowd-pleaser.
Quintessential Suede
The older material fitted in seamlessly with the new, and the more recent tracks made way for the flamboyant ‘Trash’ from 1996’s ‘Coming Up’ which is often described as the quintessential Suede song, but with so many epic tracks to choose from their latest offering, this could potentially be edged out by the likes of the titular track from the band’s tenth record.
From the gritty glamour of ‘Animal Nitrate’ to tenderness of ‘Sweet Kid’ (that Brett wrote for his son, with Brett remarking that said son had swerved the gig for rugby in lieu of the gig), every track was simply sublime, One particular highlight was the highly moving ‘June Rain’ which mesmerised the crowd.
A commanding performance
Swinging his microphone lead around him, Brett delivered drama with every breath and swing, the amiable frontman commands the room with effortless menace and as if his life depends upon it.
Every track is beautifully received, from the acerbic ‘Personality Disorder’ to the thrilling energy of ‘Antidepressants’ Criminal Ways, it may seem glib, but there really was something for everyone at the Southbank Centre.
Suede concluded their epic set with the iconic ‘Beautiful Ones’ which finished the night. From its unforgettable riff to singalong refrain, this track was the perfect way to finish Suede’s set and was a masterful triumph.
While a band’s residency like this is often an excuse for pure nostalgia, it’s refreshing to see a band fully embracing the future and with Suede’s last two album’s, it’s clear that this is a band that is not content with resting on their laurels and I for one am exciting for what else is set to come from this magnificent band.
Photo Credit: Paul Khera and Joe Flanagan
