Live Review: Paul Weller – Brighton Centre, Brighton 19/10/2024
More than 40 years after The Jam played their final gig at the Brighton Centre, the group’s former frontman Paul Weller still knows how to command an audience - in the very same venue, no less.
“This one’s for anyone who was at this gig, same place, in 1982”, he declares, deep into a set primarily concerned with his soulful, understated solo material, rather than the gruff punk of his original guise. “There’s a few of us left”, he smiles, before launching into a fiery rendition of ‘Start!’, a highlight from the trio’s 1980 album ‘Sound Affects’. With its bouncy, Beatles-nodding bassline and razor-sharp guitar solo - not to mention the singalong refrain “And what you give is what you get”- it’s a welcome burst of energy in an evening largely devoted to Weller’s leisurely and expansive back catalogue. Opening proceedings with a similarly laidback charm is Liam Bailey, a singer-songwriter from Nottingham who effortlessly weaves elements of reggae and doo-wop into his music, quickly winning over the older crowd with his warm, retro sound.
Around half an hour later a message goes out over the tannoy: “Paul Weller will be onstage in 5 minutes”. Cue panicked glances as friends and couples decide whether to head in now, or chance missing the Modfather’s grand entrance in favour of an alcoholic beverage. It’s a 50/50 split, but those who risked the lengthy drinks queues needn’t have worried - an extended intro set to ‘Tomorrow Never Knows’ precedes Weller’s entrance, buying the last-minute beer-buyers enough time to make it in just as Weller and his 6-piece band step foot on stage. They launch straight into ‘Cosmic Fringes’, a punchy slice of synth-punk reminiscent of Gary Numan and Ian Dury, but actually taken from Weller’s 2021 album ‘Fat Pop’.
It’s a high energy opener, and the strong start extends to second song ‘Soul Wondering’, a cut from his most recent album ‘66’, which is visually represented by a yellow 6 adorning each kick drum of the two kits on stage. All spiky riffs and weathered hooks, ‘Soul Wondering’ is captivating proof that Weller is still able to deliver the goods, while ‘That Pleasure’ eases the audience into the smoother sounds which the next part of the set exemplifies: “We’re going to do a couple of Style Council songs for you now”, offers Weller, to huge cheers from the crowd. Explaining that the song they’re about to play was used in a film from the mid 80s, he turns to Ocean Colour Scene guitarist and long-time collaborator Steve Craddock, and mock asks: “What was it called again?”. “Absolute Beginners”, Craddock replies. “Or absolute shit!”, he laughs, acknowledging the critical mauling the film received upon its release. Having elicited audience laughter with this remark, Weller and his bandmates dive into the catchy euro-soul of ‘Have You Ever Had It Blue’, deep blue lighting and a sparkling mirror ball adding to the song’s sophisticated atmosphere.
Though well received, it’s the next song, 1984’s up-tempo ‘My Ever Changing Moods’, which really gets things going. “The love after the hate/ The love we leave too late”, sings Weller in his trademark husk, the lyrics seeming to reflect his desire for peace and justice in the world, as the Palestinian flag draped across the piano heavily implies. From here we’re treated to a selection of solo tracks both old and new, with the luscious arrangements of ‘More’ and ‘Old Father Thyme’ (both taken from 2020’s ‘On Sunset') proving more engaging than some of the early 90s numbers, while ‘Rise Up Singing’ - the lead single from this year’s ‘66’ album- is an optimistic, sun-drenched delight. Then, just as the crowd seem to be flagging a little, Weller flips the script with a zesty rendition of Style Council classic ‘Shout to the Top!’, turning the Brighton Centre into a lively 80s nightclub, before acknowledging his long history with the venue via a rapturously received ‘Start!’.
If this were a (pre-reunion) Noel Gallagher gig, the first song from his former band would signal an unrelenting run of Oasis classics, but this is Paul Weller, one of the most innovative British songwriters of the last 40 years, and so he takes his place at the keys for more solo songs. Admittedly, ‘Broken Stones’ is a shimmering fan favourite, but the fact that he follows it with not one, but two tracks from his new album is indicative of a restless creative soul, content only with pushing forward. ‘Nothing’, based on a poem by Suggs’ friend Chalky (who’s in attendance and given an affectionate shout out), is a simplistic and beautiful reflection on the importance of friends and family over materialistic pursuits, while ‘Jumble Queen’ is a striking rock stomper with enjoyably defiant lyrics by Noel Gallagher.
It speaks to the sheer quality of these two songs that they’re placed this deep into the set, let alone after the classics which preceded them. From here on in, though, it’s old favourites only, with mid 90s standout ‘Out of the Sinking’ riling up the crowd before an extended, transcendental ‘Into Tomorrow’ leads us to the riffy, anthemic ‘Peacock Suit’, closing the main set in style. Clearly, the band will be returning for more, and it’s not long before Weller is back on stage. “Obviously we’re going to play more, we’ve got shit loads more songs”, he taunts playfully, launching into a high-powered rendition ‘The Changingman’ before taking things down a notch with the equally impressive ‘Porcelain Gods’, both taken from his mid 90s masterclass ‘Stanley Road’. He sticks with that record for the timeless ballad ‘You Do Something To Me’, before closing the encore with the low-key but extremely effective ‘Wild Wood’, drenched in soft green light as the song’s mellow acoustics draw the evening to a close.
Except, everyone’s holding out for a second encore, convinced that Weller wouldn’t play Brighton - the spiritual home of mod culture - without playing more than one Jam song. They’re correct in this assumption. Barely two minutes later (though it must’ve felt like longer for those battling their bladder after two hours of music, and almost as much drinking) Weller and co. are back on stage for a much appreciated second encore, deploying two mighty Jam classics to close the show. ‘That’s Entertainment’, all abrasive strumming, falsetto backing vocals, and poetic bricolage, is lapped up by an audience who have been waiting to hear it all night. Then, without a word, Weller and his bandmates plunge into the iconic ‘Town Called Malice’, which needs no introduction. From its inclusion in ‘Billy Elliot’ to the last year’s TV thriller of the same name, right down to its starring role in ‘Strictly Come Dancing’ a couple of weeks ago, the song has hardly left the UK’s public consciousness since its release in 1982, and it shows. Arms are flung in the air with the joy and abandonment that only a song like this can bring, and for the first time this evening, more people in the balcony are standing up than seated. Everyone sings along with massive smiles plastered across their faces, and for a moment the 40 plus years separating The Jam’s final gig here and tonight’s performance simply melt away.
Weller might have an impressive penchant for progression - comfortably surpassing that of his peers – but in this instant, it feels like he’s never been away.
Words by Ben Left
