PAUL WELLER + LIAM BAILEY – BRIGHTON CENTRE 19.10.24
On Saturday, October 19th, the Brighton Centre became an ocean of mod culture. People entering the venue left right and centre adorned in iconic Harrington Jackets, Lambretta gear, and even a few Union Jack blazers. This bustling and cool scene could present with one of a few possibilities:
1.) Brighton’s famed Mod Weekender had arrived late.
2.) We had somehow time-travelled back to the mid-1960s.
Or 3.) The ever iconic Modfather ‘Paul Weller’ had returned to town.
Much to our delight, it was the latter.
Opening the night was soulful songwriter Liam Bailey, who took the stage and immediately greeted the already packed Brighton Centre with a playful challenge for them to “make some f*cking noise!” His vibrant energy really set the tone, and captured the audience’s attention right off the bat. As Bailey’s band kicked into a tight groove, and it was clear from the start how energetic of a performer he is, immediately making gestures to us in the crowd and making absolutely full use of the stage’s length.
As he hit into his second track, the drummer dropped into a familiar reggae rhythm, setting a laid back vibe that was beautifully complemented by a skanking guitar and a reggae groove on the bass. The infectious rhythm carried through to the next song, a hook-laden reggae track that showcased a knack for earworms. The vocal hook of ‘Canary In The Coal Mine’ was catchy enough to stick in your head, while the little guitar refrain that followed each chorus added an extra layer of catchiness.
The next track saw a surprise introduction to the stage: Paul Weller’s saxophonist and flutist, Jacko Peake. This was an early treat for the crowd, who got to see the man’s impressive woodwind chops sooner than anticipated. Before he started playing, Liam took a moment to introduce himself as a big Weller fan, sharing that he had seen the Modfather perform countless times. A heartfelt moment with the crowd, before he slipped back into his playful banter, promising the audience more of his “Bad Boy Tunes.”
As this song began it showcased itself as a more soulful offering than the rest of the set thus far. Jacko’s dulcet backing vocals teasing hints of doo-wop, adding that extra of depth. This one, as you’d expect, contained a sweet saxophone solo that not only showcased Peake’s expertise, but beautifully serviced the track. The combination of Bailey’s heartfelt delivery and Peake’s musicality made for a really standout moment here.
As Bailey informed us he was going to “keep it nice and keep it chill,” he continued his dynamic performance style and took to the floor to engage with the crowd at eye level. This sensitive and sincere offering encountered a brief tech issue, where the mic cut out. However, he just kept singing, and managed to project his voice over the still amplified band. Honestly, there was a point where I thought that this was planned, his voice was just that powerful and I thought it may have been a showcase of his talent rather than a mishap.
What struck me most about his voice however, wasn’t just how powerful it was but how sweet it sounded in the more tender moments of the set.
As Liam reached the last song of the set, he invited Brighton to “have it” as the band broke into the bittiest number of their performance. The guitar unleashed distorted riffs while Bailey climbed down into the photography pit. This finale was energetic, not only in performance but also in its musicality, being by far the bluesiest of the set. After his performance full of energy, vigour and passion. Liam left us with one final message to “enjoy the big boss” before leaving the stage.
Liam Bailey setlist:
‘Holding On’ (from 2024 ‘Zero Grace’ album)
‘Champion’ (from 2020 ‘Ekundayo’ album)
‘Canary In The Coal Mine’ (from 2024 ‘Zero Grace’ album)
‘Dance With Me’ (from 2024 ‘Zero Grace’ album)
‘It’s Not The Same’ (unreleased)
‘Stun Me’ (from 2015 ‘Definitely Now’ album)
‘On My Mind’ (from 2015 ‘Definitely Now’ album)
After a brief interval, the lights dimmed, and white pillars of light began to dance vertically across the stage, as ‘Tomorrow Never Knows’ played through the venue’s PA. This song is an immensely fitting choice for setting the scene for the arrival of Paul Weller, especially given his well documented admiration for The Beatles, often citing them as his greatest influence.
The crowd erupted into applause as The Modfather took to the stage. From the very moment his iconic silver hair was visible, it was evident that he’s one of those songwriters here in the UK who carries such an immediate prestige that the sight of him alone was enough to ignite the room.
This was a feeling I resonated with. As somebody that grew up with both parents blasting Weller of all eras, I felt myself in the presence of someone who’s music who’d shaped not only many people, but my life as a listener.
The band kicked off into ‘Cosmic Fringes’ a more recent offering from the 2021 album ‘Fat-Pop’. This upbeat number not only introduced us to the tightness of the musicians on display but the effortless swagger that Weller himself radiates.
After the first track, Weller greeted the crowd, promising us “lots of songs,” a promise he certainly delivered on with a generous set featuring both old and new. This led us straight into ‘Soul Wandering’, a track from the aforementioned new album. While contemporary in edge, the musical stylings remained unmistakably his own.
After treating us with some more modern offerings, Weller addressed the crowd again. Upon announcing that he was going to be playing some tracks from his sophisticated pop powerhouse ‘The Style Council’. As a disco ball began to illuminate the whole room, the band treated us to a stunning rendition of ’‘My Ever Changing Moods’. This live version featuring a stunning flute solo from Jacko.
Following this, the grand curtain behind the band turned a fitting shade of blue foreshadowing the next track which was none other than ‘Have You Ever Had It Blue’. Seeing the music of The Style Council live and from a vantage point off the standing audience really drove home how they masterfully utilised rhythmic elements from Jazz, Soul and Funk to create dynamic tracks that got the sea of mods standing below me swaying.
After this Style Council session officially adjourned for the time being, featuring a cameo from ‘All The Pictures On The Wall’, Weller took us on a musical journey with one of his more recent tracks, ‘More’. As the lights blended with the smoke to create a mesmerising atmosphere, this slow starter erupted into a rich soundscape. Ethereal flute trills, analog delay oscillations from longtime collaborator and guitarist ‘Steve Craddock’, and a triple guitar attack. This moment really piqued my interest and had me learn forward beaming in a set that was already beyond captivating.
At that moment, I wondered if this excitement could be topped when the words ‘Stanley Road’ were uttered. Often hailed as one of Weller’s finest LP’s, this was the very album I listened to while getting myself ready for the night. Treating us to the eponymous track from the masterstroke, switching to keys for this number, he reminded us just how versatile he is.
During the next run of tracks from his more recent catalogue, a standout was ‘Rise Up Singing’, another new single from his ’66’ album that effortlessly evoked vintage Weller. Notably, the guitar breaks between the vocals sounded as if they could have been lifted straight from the era of The Style Council.
‘Stevie’ on guitar took an opportunity to introduce himself to the crowd before launching into ‘Hung Up’ from ‘Wild Wood’, the era when he began his working relationship with Weller. This long-term collaboration with the musicians he shared the stage with went a long way to explain the cohesive nature of the songs and the tightness of the band that we were being treated to.
This track was interesting as it was released at the start of the Britpop era and featured the anthemic feel and melodic hooks characteristic of that time, showcasing the influence of one of the genre’s key figures. This connection to Britpop was further explored later in the evening with ‘Jumble Queen’, co-written with recently rejoined Oasis member Noel Gallagher. The Mancunian maestro’s blueprints were audible here, especially in the opening guitar chops, creating a full circle moment that highlighted Weller’s profound impact on the Britpop scene as a whole.
Another noteworthy moment of connection was when Weller shouted out local Andrew “Chalky” Chalk in the crowd for his poem, a significant influence on Weller’s track ‘Nothing’.
The rest of the setlist was full of bonafide classics, with the crowd turning into a dance floor during The Style Council number ‘Shout to the Top’. The energy showed no signs of letting up as Weller and the band immediately launched into the first Jam track of the night, ‘Start!’.
By the time we reached ‘Out Of The Sinking’, I realised we must have been at least 20 tracks in, yet I felt like no time had passed and that we were just getting started. This was a testament to Weller’s diverse back catalogue, keeping interest high to the point where minutes felt like hours, a true sign of a generational songwriter and performer.
As Weller launched into his “Final Song” for the night (we were in for an absolutely bumper encore), he told the sold-out crowd that they, like him, are getting better with age, and this was hard to argue. He got them clapping and moving with ease.
After a brief exit as the crowd pleaded for one more song, Weller returned to the stage jibing “obviously we’re going to play more, we’ve got shit loads more songs”. Treating us with three tracks from ‘Stanley Road’, a final barrage of classics. This included the emotionally driven romantic anthem ‘You Do Something To Me’. I must admit that in this moment, while the capacity crowd sang along, I quietly FaceTimed my mum so she could take in the moment (it’s in her top five favourite songs of all time).
After leaving the stage once more following ‘Wild Wood’, the crowd remained, convinced they might receive a second encore. And that they did, as Weller and the band returned to play two more tracks from The Jam, finishing with the titanic double salvo of ‘That’s Entertainment’ and ‘A Town Called Malice’. This mod-tinged ending was perfect, reflecting the city’s deep connection to mod culture.
Bringing heritage, nostalgia and fresh musical energy to the stage, Paul Weller definitely showed us he’s got no signs of slowing down. A stunning night of live music, one that you would expect from one of the cornerstones of British Music.
Paul Weller setlist:
‘Cosmic Fringes’ (from 2021 ‘Fat Pop (Volume 1)’ album)
‘Soul Wandering’ (from 2024 ‘66’ album)
‘That Pleasure’ (from 2021 ‘Fat Pop (Volume 1)’ album)
‘My Ever Changing Moods’ (from 1984 ‘Café Bleu’ The Style Council album)
‘Have You Ever Had It Blue’ (from 1986 ‘Absolute Beginners’ soundtrack album
The Style Council song)
‘All The Pictures On The Wall’ (from 1993 ‘Wild Wood’‘album)
‘Headstart For Happiness’ (from 1984 ‘Café Bleu’ The Style Council album)
‘Above The Clouds’ (from 1992 ‘Paul Weller’ album)
‘More’ (from 2020 ‘On Sunset’ album)
‘Stanley Road’ (from 1995 ‘Stanley Road’ album)
‘Glad Times’ (from 2021 ‘Fat Pop (Volume 1)’ album)
‘Rise Up Singing’ (from 2024 ‘66’ album)
‘Old Father Tyme’ (from 2020 ‘On Sunset’ album)
‘Hung Up’ (from 1993 ‘Wild Wood’‘album)
‘Shout To The Top!’ (from CD version of 1985 ‘Our Favourite Shop’ The Style Council album)
‘Start!’ (from 1980 ‘That’s Entertainment’ The Jam album)
‘Broken Stones’ (from 1995 ‘Stanley Road’ album)
‘Nothing’ (from 2024 ‘66’ album)
‘Jumble Queen’ (from 2024 ‘66’ album)
‘Out Of The Sinking’ (from 1995 ‘Stanley Road’ album)
‘Into Tomorrow’ (from 2020 ‘On Sunset’ album)
‘Peacock Suit’ (from 1997 ‘Heavy Soul’ album)
(encore 1)
‘The Changingman’ (from 1995 ‘Stanley Road’ album)
‘Porcelain Gods’ (from 1995 ‘Stanley Road’ album)
‘You Do Something To Me’ (from 1995 ‘Stanley Road’ album)
‘Wild Wood’ (from 1993 ‘Wild Wood’‘album)
(encore 2)
‘That’s Entertainment’ (from 1980 ‘That’s Entertainment’ The Jam album)
‘Town Called Malice’ (from 1982 ‘The Gift’ The Jam album)
As an American, these concert reviews make me wish I was in the UK and not the ‘States.
the writer of this show, Nick Linazasoro, is to be thanked for such a vivid retelling of the show
he’d just seen.
This WELLER show must have been a complete gas even for the fans who’ve seen the act many
times. All I know is that Cleveland, Ohio needs a Tour’ de Force like the Brighton Show. The world
would be a better place if Mr. Weller would show up in my humble town.