On the eve of their fifth album release, Planet Nowhere, Razorlight took to the cozy stage of Strange Brew in Bristol, a venue that’s as intimate as it is vibrant, turning heads with its colorful decor and art-laden walls. When I first heard they’d be playing here, I thought it was a misprint. Razorlight, once topping charts and playing arena stages, now delivering their new and classic songs in such a close-knit space? It felt like a gift, one that any fan—new or old—could hardly believe they were unwrapping.
The evening started with Zoe Hayter, a captivating singer-songwriter, who brought her raw, folk-infused performance to the stage. Armed with tambourines strapped to her Dr. Martens (other boots are available) and bells around her ankles, Zoe seemed just as thrilled to be there as we were. She filled the room with autobiographical songs from her EP, Raw, blending delicate tales with foot-stomping percussion. Her song Ageing Clown stood out, a heartfelt tribute to her Irish grandfather Paddy Hayter, and by the end, she had us all singing along to the catchy refrain, “A rocking chair’s pretty good, but you can't keep a good clown down.” Zoe was the perfect opener, grounding the night in authenticity and storytelling.
Then, it was Razorlight’s turn. The energy in the room was electric as fans, both loyal and new, buzzed with excitement. Johnny Borrell and the band wasted no time, exploding into the set with Rip It Up and its irresistible opening line: “Hey girl, get on the dancefloor, that’s what it’s there for!” It was the perfect invitation to let loose, and from that moment, the crowd was hooked.
In the Morning was a huge crowd-pleaser, sounding just as majestic and infectious as it did in its early days, with the entire room singing along as if on cue. But it was Zombie Love, the lead single from Planet Nowhere, that truly showed us Razorlight’s enduring strength. The track flowed seamlessly from the old hits, feeling like it could have been plucked right from the band’s breakout era. This new album doesn’t just nod to the past—it blends it with a punchy, energetic sound, refined by the band’s time recording in Spain, and brought back to life on stage tonight.
With each song, Razorlight showcased the full spectrum of their influences, from the jittery, post-punk edge of Talking Heads to the riotous spirit of The Clash. Songs like Scared of Nothing embodied this range perfectly, with Johnny’s powerful, feverish delivery as he declared, “This is the sound my insides make,” before letting loose with a cacophony of feedback and flailing curls.
By the time they got to Cool People, Johnny was drenched in sweat, denim jacket off, proudly sporting a Planet Nowhere badge. It’s one of the album’s sharpest tracks, a cheeky rebuke of “phony” indie cool, with Johnny spitting lyrics like, “There aren't cool people in this band… What do you want me to do, turn up in shades and pout?” It’s a biting, refreshing anthem that instantly had everyone in the room hooked.
The new songs and old favorites flowed together effortlessly, with the crowd responding just as enthusiastically to each. Razorlight have found a groove that mixes nostalgia with innovation—a sound that feels vintage yet fresh, familiar yet surprising. April Ends showcased Andy Burrows’s frenetic drumming, pushing the song to a fever pitch and solidifying it as one of the night’s standout moments.
They saved some of the best for last, with an encore that kicked off with Vice, a scuzzy, relentless anthem that embodies Razorlight’s swagger and grit. But it was America, of course, that closed out the night, bringing the room to a nostalgic high and reminding us all why we fell in love with Razorlight in the first place.
As I stepped out of Strange Brew, hoarse from singing and with Zombie Love firmly lodged in my head, I couldn’t shake the feeling that I’d just witnessed something rare. Razorlight’s new era feels like a rebirth, a testament to their ability to evolve while staying true to the sound that made them unforgettable. Planet Nowhere is bound to bring them back to the bigger stages, but for one unforgettable night, we got to witness them up close, alive with the same spirit that’s kept them going all these years.
Words and Pictures by Matthew Barnes
