Music / Reviews
Review: Bradley Simpson, Electric Bristol – ‘Born to be on stage’
“I’ll hold my breath for ten more years of panic / I’ll be right where I’m standing / Next to you…”
If there’s one thing the era of the 2010s boy bands was renowned for it was the lack of care; the immaturity, living for the fun of it, and taking no time to look back and think it through.
A decade on, many of those defining bands now disbanded, their members are turning to solo projects, and the Vamps’ Bradley Simpson is no exception, his debut solo album The Panic Years having been released earlier this year.
is needed now More than ever
It’s a project made for reflection, its title drawing inspiration from how many refer to their twenties as their ‘panic years’: having no clue what you’re doing, and the younger you thinking you’ll have it together by a certain age, only to reach it and still feel as though you’re learning.
In short, it’s a reflection of the past ten years which, for Simpson, had been spent as the frontman of The Vamps.
Simpson has released his first solo record after performing with the Vamps for the last decade
“Who here is in their twenties?” Simpson quizzes the audience at Bristol’s Electric (formerly SWX) on Tuesday night.
Looking around, the crowd – more sparse than the queue outside from early that morning had anticipated – appears so fresh-faced they seemingly have barely entered theirs.
Still, he’s met with deafening screams, setting up Bradley’s next question perfectly: “How’s it going?”
There’s mixed responses before he assures: “It’s all gonna be fine,” before suggesting that even if it’s not, we’ll get together again and scream it out for another hour and a half.
It’s clear many here tonight grew up with the boy bands, and as they begin to navigate their early twenties, with the solo careers of their favourite musicians flourishing, it’s a comfort to hear such words.
His debut has been inspired by the so-called ‘panic years’, ageing from 20 to 30
Kicking the gig off is Getting Clear, his touring band, made up of Elena Costa and James Attwood, teasing the instrumentals as Simpson struts onstage under flickering red lights, his charisma and showmanship infectious, keeping you hanging on his every last word.
His relationship with his fanbase is evidently strong; during the first track, he kneels down to shake hands with someone in the front row, constantly throws guitar picks, and takes the time between songs to have a chat with his audience, the whole show feeling much more intimate despite the high amount of production and finely attuned attention to detail.
Early album tasters occur in the first half of the set, Picasso offering up feel-good pop-perfection while Cry At The Moon is in contrast a much darker, more mysterious and mature sounding track, rooted in rock and alt-indie influences.
Almost is a melodramatic, slower number centring on the bittersweetness of young relationships, inexperience, and ultimately introspection on a love which never fully blossomed.
Simpson paces the stage with his microphone stand, the crowd screaming every word as though discussing their own lived-experiences.
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Later in the set is recent single Favourite Band which has been re-released to feature tonight’s support act, rising indie star Nieve Ella, who comes out to perform it alongside Simpson.
Expressing in the first few lines: “I hope he fucking breaks your heart / I’m just kidding / No I’m not,” it’s a sassy, carefree number, now complete with a dual-narrative portraying an equal amount of resentment thanks to the addition of Nieve’s warm, and often vulnerable, vocals.
The pair bounce and waltz around each other, elevating the energy even further.
Alt-pop artist Nieve Ella was in support and later joined Simpson on stage
Soon it’s time to slow things down with tender love song Holy Grail completed by phone torches replacing the stage lights.
On the same thread is the reassurance long-time fans may need in the form of The Band’s Not Breaking Up. Simpson ditches his mic and climbs down into the crowd, standing in the middle of the room accompanied by only an unplugged acoustic guitar.
It’s so quiet you could hear a pin drop as he sings alone in a wholly intimate moment, before inviting the crowd to accompany him in the final chorus.
Simpson is full of surprises for this show, singing solo from the crowd in one intimate moment
And the surprises don’t stop there. Each night on tour, Bradley has treated his audience to a cover, reflective of the famous bands formed in each city.
That being said tonight was an outlier, Simpson performing a rendition of Arctic Monkeys’ 505 but nailing it nonetheless.
Grungier, Always Like This follows, Simpson asking the crowd to put their phones away and enjoy the moment, before encouraging everyone to crouch down and dance without a care for the final 30 seconds.
The easy-going sonics of Daisies signals the encore, fans in the front rows throwing flowers at Simpson as the chorus rolls around.
As he switches guitar for the final song of the night, fan-favourite and all round lovely, sentimental track Carpet Burn, Simpson turns his back to remove the plaid shirt he’s been wearing all night to reveal that the vest underneath says Bristol on the back, the utmost attention to detail pulling the whole show together.
It’s evident Simpson was born to be onstage.
It’s clear from his presence and connection with the crowd that Simpson was born to be on stage
Before the final chorus, Simpson encourages the crowd to take the lead, before erupting into an unexpected guitar solo, certifying him to be a musician with immense musical talent beyond the charismatic boyband persona.
After expressing his gratitude for the response to his album and reflecting on how the tour is coming to a close, Simpson initiates the chorus one final time, the crowd singing louder than him.
If tonight’s gig is anything to go by, maybe the panic years aren’t all that bad.
All images: Katie Hillier
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