Throwback to the Southbank: Off mic or It’s Always the Quiet Ones

A year ago, a special kind of magic happened: Suede, 300 people and no microphones at the Purcell Room, part of London’s Southbank Centre. Amanda Blazier was one of the lucky ones and takes us back.

There is something in the air tonight

Picture the scene: a low stage lit by lamplight and candles, illuminating a carpet, a sofa, 3 chairs and a stool. Two acoustic guitars apiece for Richard and Neil, dwarfed by Mat’s acoustic bass. There is red wine (Simon) and sparkling water (Neil). A McCartney (James) adds a little stardust in the audience.

Signs outside have asked us to refrain from using our phones, to ‘be in the room, in the moment and with the band.’ People have stayed, and wonder of wonders, will remain, seated. There is anticipation in the air. This is no ordinary gig.

The beauty of the shit album

5 figures saunter onto stage, ‘Welcome to our bedroom’ opines Brett, atop a stool, stage right. The opening chords of ‘Since You Went Away’ fill the room. A song played so rarely Brett needs the words taped to the stage, and they’ve only just begun. ‘Life Is Golden’ follows, played to awed, hushed silence.

‘Obsessions’ is dismissed by Brett as being from the ‘shit album’, but in this environment, on this night, and most especially with these guitarists, the song shines.

I’m not crying, you’re crying

Brett might have a stool, but in time-honoured fur he’s soon sauntering up the nearest aisle to sing ‘The Only Way I Can Love You’ from a spiral staircase at the back of the room. Simon, the epitome of languid cool in sunglasses throughout, plays tambourine from the sofa.

Brett turns to Mat to confirm that the next rare treat, ‘God’s Gift’, pre-dates Suede itself; but as any self-respecting anti-nostalgia band should, they quickly pivot back to the present day and Antidepressants stand-out ‘June Rain’. I’m not crying, you’re crying. Something old, something new, as ‘The Sound of the Streets’ makes way for ‘Sweet Kid’. ‘

Audible gasp of pleasure

The audience remains respectful, pin-drop silent as the band play. Nevertheless, there is an audible gasp of pleasure at the first notes of ‘My Dark Star’. At one point, Brett tells us he’s ‘not in a crowd motivation mood tonight’ and that’s fine; we don’t need a ringmaster whilst we sit transfixed, bewitched.

‘Breakdown’ is next and here, Mat’s bass-playing steals the song; it’s sublime, elegiac and almost physically resonant. The acoustic bass sounds wonderful all night, but here it reaches a pinnacle.

A welcome return

‘Simon’ has not been played live in over a decade, but by now it’s abundantly clear anything is possible this night, this week. Neil surprises and delights as his voice rings out strongly for the refrain.

Brett is in fine voice throughout, particularly on an impassioned ‘Tightrope’, played, as he tells us ‘how we should have recorded it’. ‘Wastelands’ then makes a welcome return to the setlist.

A moment of unexpected comedy

During ‘High Rising’ the reverential atmosphere in the room briefly evaporates into giggles as Mat starts to look around. Simon, who had exited the stage some numbers before, is clearly expected, but nowhere to be seen.

Richard and Neil keep their concentration magnificently as Mat delivers a superbly comedic turn in palpable confusion. ‘He’s Gone’ is almost incongruous after the mirth, but the performance pulls us back into our trance state.

Heaven

Surely not...it is! ‘Leaving’ has been top of my personal wish list for years. It’s divine. Brett can disparage the lyrics all he wants, but that melody, I think I’m going to heaven on it.

For ‘The Big Time’ Brett strays from his perch on the front of the stage right, to lean against the side staging to deliver his vocal.

Where's Wally?

He’s not in the way, but clearly always intended to exit the stage mid-song to highlight the exquisite musicianship of Neil, Mat and Richard during the instrumental section; in the circumstances he seems to be band prefect off to round up the recalcitrant drummer. Hilarious. High art and high farce are as one.

Simon and Brett return to applause and we’re back in harness again ‘For the Strangers.’ The show is drawing to a close, but there is time for ‘The Power’ before the band briefly withdraw. We clap long and loud; there is so much love in this place.

Audience - Mr Anderson: 0 - 1

And of course they come back for one last song, their, and our, theme song ‘Trash’. ‘You can sing if you like’ Brett allows us. We do our best, but we’re reticent to break the spell. Unlike Mr Anderson, we audience are not in good voice tonight. It doesn’t matter.

Looks and smiles of wonder are exchanged amongst us, the delighted disbelief in our luck to be present at this set list for the ages; a unique performance of a band at the top of their game and utterly in command of their canon. We finally rise to a joyous standing ovation as Suede exit the stage. Offmic, and off-the-scale stupendous.