Who
Supergrass
Support
Loup GarouX
Where
Birmingham O2 Academy
When
3rd March 2020
Price
£33.00
Who with
No-one
Position
Towards the right
Comments
I watched Supergrass play at their peak in 1999, followed by a so-so set in 2005. The guys split up in 2010 and I never expected them to return. Also after Gaz Coombes's hit-free set supporting The Who in 2015 I wasn't holding out any hopes or desire for their return. But the guys suddenly got back together in 2019, performing a set skewed towards their debut album, and ignoring everything after their self-titled third effort from 1999. I got two tickets straight away once they announced a tour, and after the usual whinge about the cost I got my mate a ticket to join me too. I also recorded a Supergrass greatest hits compilation, which helped to focus my mind and appreciate the music ahead of the show. Unfortunately 2020 was continuing my appalling run of even-numbered years after my so-called best friends let me down shortly after new year, and I made the decision to hold out for an apology. As one of these friends was attending the show I really thought it would be his motivation to grow up and apologise, and I was shocked, offended and hurt to not hear anything, not even a request for his ticket. I have endured a long and frustrating history of having to attend shows by myself, made worse by being made to feel that my friends are almost affronted to be invited, rather than grateful. But fuck them, I've grown tired of being let down, I am incredibly proud of myself for making a stand and not tolerating selfish behaviour anymore, and although I'd rather not be angry, it is a much better state to be in than hurt and letting my life be damaged by other people. It's so sad, as a simple apology and some reasonable behaviour is all I ask for, and I hate lowering my expectations of people then finding they still manage to let me down. I'd so love to be proved wrong in a positive way, then to feel embarrassed that I ever doubted them!

As it turned out this show - on a Tuesday - was my first of three successive nights out, followed by a drama about Hitler and then the legendary Book Of Mormon in Birmingham, and I was delighted to share those two experiences with a mate who didn't let me down, and even more pleased that he enjoyed the shows massively, as I'd feel terrible to drag him along to something expensive that he didn't enjoy. But it still made for a rather hectic week, and I hope to space out future shows a bit more! However it was great that I continued to enjoy life - by myself when necessary - and not to let the curse of even-numbered years get me down. Little did I realise at this point in March 2020 just what utter shite was around the corner, and that this would be my only concert of 2020! I had a busy day at work and resisted the mild pressure to work until 6pm, but then I got changed and wandered off to take photos of some random graffiti I'd spotted in Wolverhampton, amusingly wiping out much of the time saving. I'd largely kept the evening freer to provide time should I be apologised to ahead of the show, but apart from keeping a closer eye on my phone than normal I didn't let it ruin the build-up. At Wetherspoons I got sirloin steak with chips and salad in the Steak Club offer, along with a refreshing Kopparberg. I also caught up on my internet and got a later train into Brum than I normally would, thinking that touting my ticket would be easier if I arrived later. It was a pretty chilly evening and I heard more Supergrass on my trip in, as well as writing up the initial notes for this review on my phone. I then stopped at Cherry Reds pub for some delicious millionaires shortbread along with some English Tynt Meadow Trappist beer for my second time ever. I felt like I should treat myself and this certainly ticked that box!

I'd checked my ticket before setting out and was surprised that the show was actually at the Academy, as I'd long had it in my head that it was at the superior Institute! This was my first show at the Academy since The Flaming Lips back in August 2017, as I preferred not to visit the dump and many of my favourite bands seem to feel the same too! I spoke to two touts outside and didn't even get to negotiate about price, they flat-out didn't want to buy any more tickets for this sold out show, which was a real shocker! I'd planned to get face value (or more) for the ticket and send my friend his money back unasked for, as so far I'd maintained the moral high ground and I didn't want to lose that. It had never really crossed my mind that selling the ticket would cause the slightest problem - and as I'd held out naive hopes of getting an apology I'd refrained from asking anyone else along - so I was shocked by this. With the gift of hindsight I'd just have posted him the ticket, as it's his ticket, his responsibility, and if he can't be bothered to contact me then what can I do? So although this was a colossal waste and I felt quite pissed off to be by myself, I headed in, getting quite a thorough search as I had a camera, phone and iPod on me, then seeing how busy it was on the entrance side I walked over to the right, and to my surprise it was even busier there, and I was stuck behind the overhanging balcony too. A few twats were pushing past but I didn't let them get to me, and support band Loup GarouX took to the stage at 8pm for their 30-minute set, with their name projected on the video screen behind them, and they were grateful to Supergrass for inviting them to tour with them.

They were two guys with guitars, plus a third member I believe, and said it was their first ever show in Birmingham, and also that they were revisiting the city in May, but they couldn't remember where, which was amusingly unhelpful, and no doubt that show never happened in the end! The internet says that they are a three-piece rock band featuring Ed Harcourt, Cass Browne (Gorillaz) and Richard Jones (The Feeling), which is crazy as I didn't realise that they were famous names. Perhaps my Google search has given me false information? They asked for three cheers for Supergrass, which was a bit shameless, and I took a few photos but no videos amid their changing lights, but the overhanging balcony and my lingering annoyance at my friend did dent my enjoyment a bit. I was in my thick coat and carrying all my valuables as aforementioned, but fortunately it never got too hot, but I certainly felt that I was going off these big, crowded standing shows, and I had no interest in getting roped into a moshpit. For me, the rise of mobile phones at concerts is a wonderful thing, as an indirect benefit is that people are more careful and behave less like feral animals, as they have some expensive hardware to take care of! Plus the memories from photos and videos is an added bonus. The Supergrass classic logo was on their drum kit and it was the first time I'd ever noticed that all four members of the band were on it, as Rob Coombes had officially joined in 2002. After some introductory photos of the guys in their heyday on the video screen they took to the stage for a very-welcome take on In It For The Money, which perhaps was a knowing wink for what motivated them to return in the first place?

The classic logo was also projected onto the backdrop for the first few songs, and all four members were present and correct onstage. Gaz Coombes was looking good with his typical facial hair and sporting a cowboy hat with blue shirt, whereas Mick was wearing shades and looking rather cool. The other two - Danny and Rob - were very quiet and I hardly noticed them, which was a surprise as I always thought that Danny would be quite a personality! Supergrass weren't shy to focus on their debut album I Should Coco, as next up was its opener I'd Like To Know, as the stage was illuminated in red lights. Gaz said that it had been ten years since they were together and that they had never really expected to be back, but the guys seemed to be enjoying it, although I must say I was surprised how sedate the crowd were. It suited me though, and I'd moved a little bit forwards during the interval and no longer had the overhanging balcony obstructing my view. Gaz did try and get the crowd going but it only worked to a limited extent, and it was tough to tell if there was actually a sustained moshpit at the front, although I do think it got lively for just a few of the tunes. I was stuck behind some freakishly large heads as usual and there were plenty of phone cameras in the air, and I shot my first video for the delightful Mansize Rooster, which was excellent quality and loud. I loved the blue and red flashing lights, and the energy levels from the band were better than I remembered. Next up was Mary - featuring some green lights - and it was very clear that the guys were in greatest hits mode, which made sense considering that they had no new album to promote in any case.

Although I'd enjoyed hearing In It For The Money, nothing can ever beat them opening with Moving back in 1999, and I shot another video here, with Gaz starting it pretty-much acoustically amid a hazy black stage, before red lights kicked in for the chorus. Phones were in the air and I recorded until it went quiet again, zooming in on Gaz but it then got blurry. The run of crowd-pleasers was pretty relentless, with Seen The Light and Sitting Up Straight keeping proceedings high-energy, but it was the majestic Late In The Day that motivated me to shoot another video, with Gaz again starting it quietly and by himself. My camera zoom captured that he was wearing some eyeliner, and it was perhaps for the best that no-one had smuggled in a pogo stick to enjoy the chorus with! Some of the tunes were incredibly loud and I believe that Richard III was one of these, and the band were lively enough but the crowd were less so, and it was surprising to clock how much like The View From The Afternoon by Arctic Monkeys it sounded like. Next up were representatives from Supergrass's fifth and sixth long players, with the underappreciated Rebel In You followed by the dull St. Petersburg. St. Petersburg perhaps can be justified for providing a rare gentler moment, whereas Rebel In You is the highpoint of their last album, and a tune I'd really got into thanks to recording their greatest hits before the show. I hadn't held much hope of hearing Going Out but it was perhaps the high-point of the night, being majestic, tuneful and rocking at the same time. At this point the band left the stage for some more video footage to be played, giving them a breather and also a chance for the delicious Coffee In The Pot instrumental to be played.

Supergrass then returned to the stage for Lose It, but for me the middle-albums were of much more interest, and few tunes as much so as the epic Grace. I shot another video and captured the full introduction of Grace, zooming in on Gaz and struggling to cut out the gigantic heads, before cutting it off as it hit the chorus. The guys did a cheeky instrument break for maximum impact - as they later also did during Fuzz - and next up they really showcased their commitment to crowd-pleasing with a wonderful romp through Alright! The last time I'd seen them they couldn't be arsed to play it, so it was a delight to hear a proper poppy rendition of it, with the classic keyboards teasing it in as they should. It's funny to think that Rob - who wasn't even counted as a member at the time - had contributed the most famous piece of music that Supergrass will ever do. I shot another video, and strangely it was accompanied with yellow rather than green lights, and when I saw how brilliant my footage was and posted it to Facebook, I was reminded why it's a waste of time to try and persuade people to gigs - no-one pressed like on the glorious video! Next up was Sun Hits The Sky, which hit the spot as the lyrics about being with the right ones really struck a chord. I shot a video and there were red lights, and I must say that the sound quality was a lot better than I expected from the Academy. I really thought that this would be the end of the main set so I was pleasantly surprised when the guys launched into Lenny, as I shot another video capturing the dynamic flashing red lights, as I struggled for a clear view before cutting it off as Gaz started singing. Supergrass then left the stage, after a pretty much faultless set.

It went without saying that they'd be back, and I'm pleased that they delivered in playing the final couple of essential tunes too. Caught By The Fuzz is a pleasing romp but has never been my favourite, although I appreciated the irony when a couple of crowdsurfers were caught by the fuzz, also known as the bouncers! The cool backdrop of the interspersed faces of Supergrass which you see above accompanied the song, and I thought that this would be the end, so was pleased when they continued with Strange Ones! It's pleasant but many of the I Should Coco tunes are quite interchangeable and for me I really wanted to hear Pumping On Your Stereo. The presence of Strange Ones implied that they were going to blow the ending to focus excessively on their debut LP! Therefore the evening was delightfully topped off as a bout of hand-clapping preceded Stereo, although at first I think that the crowd were singing it because it was what they wanted to hear, rather than what the guys were actually playing! I shot a short aborted video due to excessive heads in the way, capturing some blue-purple lights, and our applause at the end mirrored the applause in the original recording, although this could have been capped off by one of the guys then saying "can we go home now" in a grumpy voice! This was obviously the finale and Supergrass came together for a group hug and bow - which I got another pleasing pic of - before leaving the stage 20 minutes before the 11pm curfew. I was a bit sweaty but made my way out, darting between the crowd, then writing my notes on my phone while on the train, arriving back later than I'd have liked.

I heard some Supergrass on my iPod but then switched to The Supernaturals - who had been my previous show - and I think that my ears were only whistling thanks to playing their tunes at such high volume! I made it back ok and then got to work as normal the next day, and perhaps best of all I found the time to write up the full review the weekend following the show! The setlist was skewed too heavily in favour of their early material, although it was pleasing that all the albums were represented. Eight tunes from I Should Coco was excessive, but at least Supergrass had played a bit more diversely than they'd managed at their comeback show. Comparing to my Supergrass greatest hits, the worst omissions were Diamond Hoo Ha Man and Never Done Nothing Like That Before, although these were personal favourites for me and I'd be surprised if many other fans cared too much about them. Certainly all the big hitters were played, and that was what mattered. More obscurely, the guys didn't play Kiss Of Life, Jesus Came From Outer Space, Rush Hour Soul, Cheapskate, Bullet, What Went Wrong (In Your Head), Faraway, You Can See Me and Time To Go, and I find it unusual that Supergrass were more focused on their early material than I'd have liked, as it is rare for a band to be so crowd-pleasing. I can't imagine I'll ever see Supergrass live again, but it was good to revisit them and appreciate what a good band they were. I would purchase their Strange Ones box set filled with rarities too but it's just too pricey! It's sad that I had to go by myself, but I am proud for not letting it ruin the concert, which cruelly turned out to be my first and last show of 2020!
Setlist
In It For The Money
I'd Like To Know
Mansize Rooster
Mary
Moving
Seen The Light
Sitting Up Straight
Late In The Day
Richard III
Rebel In You
St. Petersburg
Going Out
Coffee In The Pot
Lose It
Grace
Alright
Sun Hits The Sky
Lenny
Caught By The Fuzz
Strange Ones
Pumping On Your Stereo

Mark: 8.0/10