For over two and a half decades, the musical genius Damon Gough, known as Badly Drawn Boy (BDB from now on) has been weaving intricate melodies, evoking deep emotions, and painting lush sonic landscapes that resonate with listeners around the world. With a career that spans a remarkable journey through the realms of indie rock, folk, and cinematic scores, BDB's music has left an indelible mark on the industry. As of March 2023, he has embarked on a celebratory tour, marking a quarter-century of unparalleled creativity and dedication to the art of music.

BDB, born Damon Gough, first burst onto the scene with his 2000 debut studio album, "The Hour of Bewilderbeast." This critically acclaimed masterpiece not only won the coveted Mercury Prize but also introduced the world to Gough's unique blend of introspective songwriting, heartfelt lyrics, and a distinctive, often whimsical, musical style. Tracks like "Once Around the Block" and "Disillusion" quickly became anthems for a generation seeking solace and connection through music.

Following the success of his debut, BDB continued to captivate audiences with a series of studio albums, each a testament to his evolution as an artist. Albums like "Have You Fed the Fish?" (2002) and "One Plus One Is One" (2004) showcased his ability to craft songs that were both deeply personal and universally relatable. The intricacy of his compositions and the warmth of his vocals made these records essential additions to any music lover's collection.

Beyond his studio albums, BDB's talent extended to the world of cinema. He contributed his musical prowess to a pair of remarkable soundtrack albums that further solidified his status as a multifaceted artist. His work on the soundtrack for the film "About a Boy" (2002) not only earned him a Grammy Award but also included the unforgettable track "Silent Sigh," which remains a fan favorite. Additionally, his soundtrack for the documentary "Being Flynn" (2012) demonstrated his ability to create emotive and evocative compositions that enhanced the storytelling on screen.

Now, as he takes to the stage in 2023 to commemorate his illustrious career, BDB continues to enchant audiences with his live performances. With his iconic beanie and an array of instruments at his disposal, he invites fans old and new to join him on a musical journey that spans a quarter-century of creativity, innovation, and pure artistic brilliance.

Onto the show itself…..

There's a queue to get into the Phoenix tonight, which can't be too common a sight on a stupendously soggy Sunday evening, and there's a nice atmosphere building around the bar and foyer, it seems a lot of people have been waiting patiently to see BDB, some may have been waiting for 25 years, no wonder they're keen!

Providing support tonight is Liam Frost, a Manchester based singer-songwriter, who is initially greeted by perhaps a third of the crowd, I doubt too many of the audience are familiar with him, but those in attendance were soon won over, and the room seemed to fill with every song. It's no surprise, as his set saw song after song hit home, rendering the room cathedral quiet for his articulate guitar, powerful voice and crafted songs full of heartfelt lyrics and stunning imagery. It's so good you're left wondering why he isn't the nation's default goto for a healthy dose of melancholia. Perhaps the world is over-supplied with earnest songsmiths, and it's hard to stand out and become 'the one' but i suspect that anyone who saw him tonight would agree, he is outstanding. His ability to let a song breathe, in near silence, and then sweep everything before it in a wave of (all acoustic) power or cutting words was breathtaking at times. I would heartily recommend seeing him if you can.

Tonight, see's Damon Gough, more commonly known as BDB, play the last gig of a tour celebrating 25 years in music. As you listen to his self-deprecating introduction to his life you quickly realise that his success is at odds with his shy personality. Whether it's his reluctant first gigs that he was hoodwinked into doing, or feeling inadequate with movie types in L.A, or even facing himself in the mirror as a boy ("so that's it then?"), it seems he's always carried a burden of unease. But that's probably what gives him the beautiful insights he has on life, and that appear in his songs. It's almost certainly what has given him the sweetest sense of cynical humour, that he happily dispenses. BDB is a great raconteur, you could watch him for his stories as much as the songs.

The locks that escape from under the trademark ‘beanie’ are grey now, but the brilliance flows unrestrained and ageless for over two hours and 24 songs (yes, 24!). The tunes and stories taking us through time from his earliest EP's (‘Shake the Rollercoaster’, ‘I Love You All’, ‘I need a sign’) in the late 90's recorded on his Tascam 144, through the critical acclaim of winning the Mercury prize in 2000 with the 'The Hour of Bewilderbeast' LP and it's commercial success, that then continued with the 'About a Boy' soundtrack LP, and on to later albums and also the personal sadness of recent family events. He plays a slowed down cover of The Strokes' 'Sometimes' in memory of his elder brother, and his favourite band.

You're left in no doubt he really cares about people, he name checks everyone in his team, some local friends and even Toby the new Phoenix in-house-sound guy, and, he really cares about music, how it tells a story of his life, your life. The business side of his career is just an unintended side effect, one that he'll happily accept, he recalls his astonishment of the 'shovel loads' of cash that came from 'All Possibilities' being used to sell 'the utopian dream of white goods' for electrical retailer Comet, an 'appliance anthem' he says by way of introduction. 

It's his geniality that shines through, he's the quiet one in the pub that comes out with utter gems when called for, not shouting rubbish all the time just for the sake of being heard. And this is true of his music too, understated, delicate genius. He moves to the piano (which he only does once or twice, to play a clutch of songs each time, 'for economy of movement purposes' he tells us, as he has a replacement hip. I’m sure i believe him, (but the smirk beneath the beany makes me think he could be pulling our communal legs) he plays 'Silent Sigh', from the 'About a Boy' film soundtrack, it rolls along, ebbs and flows like a timid but heartfelt smile on a loved ones face, so good it wouldn't sound out of place on Carole King's Tapestry (i can hear her singing it now). He is that good.

He's also a man of surprises, who would have guessed that the inspiration for his entire career came from Bruce Springsteen, particularly 'Born to Run', specifically 'Thunder Road'. Damon talks about it several times, and cites Springsteen calling it his 'invitation' to open up and write more music. His own 'invitation', he tells us, occurs when he wrote 'The Shining' about his first wife & mother of his first two children, and you can tell how much it means, as the songs are as old as his kids, it's like he's nurtured them in tandem.

To close the set, BDB adopts an unfamiliar pose, guitarless, both hands grip the microphone stand, and he announces that as it is the last show, he will do a rendition of 'Thunder Road', epic! It's almost acapella save for a loose, heavy in reverb, self sung backing track. It's a tribute, a fitting way of closing the 25 year long chapter that the original song had 'invited' him to start.

Thank you Bruce.

Thank you Damon.

Thank you Badly Drawn Boy (sorry, BDB!).

Review by Gareth Marsden