Anderson can afford to be so bold. If Suede’s seminal foundational hits ushered in what became known as Britpop, their abject decline and meek split to shrugged shoulders in 2003 seemed terminal. But their five comeback albums have been a rare exercise in revitalised creative excellence for an aging rock group. Autofiction, their 2022 “punk” album, was the sound of 50-something men noisily kicking back against the onset of middle age. It is an attitude that runs through the excellent, semi-accompanying Antidepressants, Suede’s distinct twist on 1980’s British post-punk and artful balladry.
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It played into the force and immediacy that underpins much of the album, which is Anderson’s reckoning with the digital onslaught of modern life and search for connectivity. Flanked by a band led expertly by guitarist Richard Oakes, the lithe, pirouetting Anderson, who at 57 must still have that portrait in his attic, came out firing for a breathless opening salvo. “Disintegrate” was a primal affront to aging (“feel the rage”); the unifying “Dancing with the Europeans” was one of those typically uplifting Suede radio hits; the album’s title track was a ferocious, tightly wound post-punk wonder, Anderson sounding slightly manic as he shrills about a medicated society. By the fourth track, the classically Suede-sounding “Sweet Kid” written about Anderson’s son, it was no surprise to see the singer’s white shirt was drenched in sweat; Anderson’s dynamic, knowing showmanship, animated by the surroundings, was as a committed as ever.
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The second half plundered the dark, forceful, agitated end of Suede’s post-reformation years, an attempt to position these songs as Suede anthems in-keeping with what came before. And it worked: it was noticeable how the familiarity of 2013’s whiplashed Snowblind ratcheted up the frisson several levels; once Anderson led the audience through a singalong of 2022’s “She Still Leads Me On” a moving requiem about contemporising his love for his late mother, it didn’t feel like anything was amiss. Anderson seemed to thrive off the heightened energy. The feral “Personality Disorder”, from Autofiction, brought about the night’s first elaborate swing of the microphone lead, and for that album’s equally primitive “Shadow Self”, Anderson climbed atop the speakers excitedly.
Suede Takeover at the Southbank Centre continues on 12 September
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