I miss Britpop. I wasn’t there – about eight years too late – but I miss it. Its optimism, rugged energy and ability to weave between storytelling and subtle social commentary all still translates today. Perhaps now though we reflect on it with the bittersweet notion of nostalgia, longing to return to a time where the world (for the most part) didn’t feel like it was falling apart and was soundtracked by gloriously anthemic and energetic music.
Supergrass capture this and always have. Since the release of their debut album I Should Coco in 1995, the band have proved themselves to be underrated champions of British music, with their sound juxtaposing between relentlessly fast-paced anthems and swirling melodic melancholy. Performing to a sold-out Albert Hall in Manchester, the band bring their debut album to the stage in full, in celebration of its 30th anniversary, along with a selection of other hits from their catalogue.
By the time I get to the venue, it is packed with people. Having never been to the Albert Hall before, I was in awe. Its look. Its vibe. Everything. Converted from an old chapel with interior that remains the same, it is bizarrely, the perfect venue for a gig.
After a brief intro and glimmers of a light show, the band take to the stage and burst into the opening track from the album, ‘I’d Like to Know.’ It’s a harsh cacophony of instrumentation belted at speed. You’re thrown in at the deep end with no escape as the rapidity and sheer volume engulfs the entire room. The crowd erupt, joining Gaz Coombes by singing each word.
‘Caught by the Fuzz’ and ‘Mansize Rooster’ follow and carry that same level of velocity. Despite all these factors combining, the band are slick in their play and prove the timeless nature of their music and connection as a band.
‘Alright,’ undoubtably their biggest hit, is a joy to hear live. It’s the sort of song that has just always been there – the one you know every lyric to. It comes alive within this sort of setting and forces the room into a daze of enjoyment even more powerful than before.
The gritty crunch of a guitar carries songs ‘Lose It,’ ‘Lenny,’ and ‘Strange Ones’ as heads bob in uncoordinated synchronicity. We’re halfway through the album’s play and it’s evident that every single person in the crowd is having the time of their life. Coombes picks up on this in between songs, highlighting the unwavering energy being channelled by the crowd.
‘She’s so Loose,’ and ‘We’re Not Supposed To’ introduce an acoustic guitar to proceedings. Still enforcing that liveliness of the previous songs, it gives us a brief moment to catch our breath without altering the mood too much. ‘Time’ softly reintroduces the brittle calamity of an electric guitar yet under a slower tempo.
The play of the album ends with the highly apt ‘Time to Go.’ It was at this point I realised that was the quickest time has ever passed. You become transfixed by the music, the lighting, the showmanship – all of it.
The last 40 minutes or so of the gig is dedicated to their other hits and as they continue you don’t realise just how many they’ve had. ‘Richard III’ sets us off with a powerful punch. Noise hits you as chords clash with the intensity of the drums and Coombes’ vocals carry undeniable intensity.
‘Late in the Day’ brings us back down to earth. Beginning with the melancholy of simple, acoustic chords which form a backdrop for Coombes’ subtly haunting vocals. A beat softly enters but isn’t too harsh as the room adopts a blissful atmosphere.
‘Mary’ is carried by a rock organ and an altering bassline. It’s rock with a groove and is glorious within a setting such as the Albert Hall. ‘Moving’ is even more beautiful, particularly within its verses as ethereal chords layer with the prowess of passionate vocals. Here, the sound echoes from the walls of the building and almost goes through you, sending chills up your spine.
‘Sun Hits the Sky’ is a definite highlight of the show for me, combining significant pieces of the songs which have gone before and compacting them into a five-minute-long masterpiece. Each element of musicality is heightened as the guitar hurls complex and twisting chords, the atypical bassline drives the rhythm with definition and there’s a lyrical hook which is great to sing along to. Hearing it live just elevates it all to another level.
‘Pumping on Your Stereo’ rounds of the set with pure joy. An infuriatingly catchy beat drags out the very last bit of energy the crowd has. For the last time, everyone in the room sings along with undeniable glee.
More familiar with their recordings than their live work, I wasn’t sure how well the songs would translate onto a stage, especially 30 years after their release. This uncertainty was quickly diminished as I soon realised just how incredible the band are live. Somehow, their music sounds even better live than it does recorded even though they sound near identical.
Each layer of musicality was flawless. Coombes’ stage presence was the perfect balance of confidence and understated. And the great charisma of the music made each element gel even further. If you get the chance, grab yourself a ticket and find yourself back to a time 30 years prior without a care in the world.
Supergrass are on tour until 22 May and then appear at the Cornwall Great Estate Festival on 31 May 2025.
