It takes a special kind of artist to fill a room with music lovers, curious theatre-goers and television fans in equal measure, but Damian Lewis managed exactly that at Exeter Phoenix. While many arrived keen to catch a glimpse of the acclaimed actor up close, they left having witnessed a genuinely accomplished musician fronting a band packed with groove, swagger and classic songwriting nous. Before that, however, local favourites Sound of the Sirens reminded everyone exactly why they remain one of Devon's most cherished live acts.
Sound of the Sirens opened the evening with everything that has made them such a beloved fixture on the local music scene. Sublime vocal harmonies, razor-sharp acoustic guitars and an onstage chemistry that many bands would spend a lifetime trying to replicate combined to instantly win over the growing crowd.
Having previously witnessed the duo appearing dressed as Simon and Garfunkel at a delightfully chaotic Beautiful Days Festival themed around the 1970s, there was something reassuringly familiar about seeing Abbe Martin and Hannah Wood back in more traditional form. Their ability to connect with an audience feels entirely natural and never forced.
"These Are The Days" proved one of the set's most uplifting moments, its infectious optimism drawing warm reactions throughout the auditorium. The pair also offered a glimpse into the future with the title track from their forthcoming album The House That I Grew In, due for release on January 15th. Judging by the response, fans have plenty to look forward to.
A particularly touching moment arrived with "Infinite Kindness", which saw Hannah move over to the piano to perform the song she wrote for her husband when he became a father. Delicate, heartfelt and beautifully delivered, it demonstrated the emotional depth at the core of the duo's songwriting.
Never ones to miss an opportunity for humour, Abbe asked the audience whether they preferred "happy upbeat" or "passive-aggressive upbeat". The latter won out, prompting laughter throughout the room before the pair launched into a stunning rendition of "Life Enough". Driven by melancholic piano, acoustic guitar and bass drum, the song took on a fresh dimension live. The harmonies soared while the arrangement gently lifted the audience with it.
"Coming Back" explored the feeling of rediscovering yourself after becoming absent from your own life, while "Together Alone" delivered another masterclass in harmony-led songwriting. It was unmistakably Sound of the Sirens from the opening notes, carrying that warm, intimate quality that has become their signature.
Before leaving the stage, the duo revealed they had been invited backstage to share stew with Damian Lewis and his band earlier in the evening. They rounded things off with "The Part Where You're Gone", a moving reflection on learning to live again after loss. Hannah's electric guitar added extra weight and texture, bringing a powerful close to an excellent support set.
By 9pm the auditorium had filled considerably as Damian Lewis and his band took to the stage. There was an air of anticipation in the room. Some were undoubtedly there to see the star of Homeland and Billions, but it quickly became clear that Lewis was intent on letting the music do the talking.
Looking every inch the frontman in a sharp navy suit with slicked-back hair, Lewis arrived alongside a band whose crushed velvet jackets and classic tailoring only enhanced the retro aesthetic. The opening number exploded into life with a driving four-to-the-floor rhythm and an impressive guitar solo from Lewis himself, immediately challenging any assumptions that this was merely an actor indulging a musical hobby.
In truth, the evening delivered something quite different to expectations. Rather than the country-leaning set some may have anticipated, Lewis and company served up a bona fide rock show steeped in the sounds of the late '60s and '70s, packed with groove, swagger and plenty of muscle.
"Pentonville Prison" arrived early in the set, inspired by Lewis's own near-fatal cycling collision with a car. The song's vivid storytelling captured the bizarre aftermath of the accident, where an off-duty nurse helped save his life after he regained consciousness.
Drawing heavily from his recently released, Guy Chambers produced album Sweet Chaos while also showcasing material from his debut release mission creep, Lewis demonstrated a knack for crafting songs that wear their influences proudly. At various points shades of R.E.M., Bowie, glam-rock, blues and classic British rock surfaced, yet the performances felt organic rather than derivative.
The band's musicianship was exceptional throughout. Keyboards drifted elegantly through the arrangements, often creating cinematic washes of sound beneath Lewis's conversational vocal delivery. Tracks centred around everyday anxieties and observations, from intrusive thoughts on beautiful days to reflections on life, relationships and ageing.
There was plenty of audience interaction too, including an amusing debate about the correct Cornish cream tea order ahead of a forthcoming trip west. Jam first or cream first? Exeter Phoenix never truly reached a consensus.
"Advent" was one of the night's standout moments, transforming festive stress into an infectious blues-rock stomper complete with harmonica flourishes that elevated the track further still. "Question Mark" began life as a smoky lounge-bar number featuring dusty drums, rimshots and sublime keyboard work before evolving into something altogether more Bowie-esque.
The title track "Sweet Chaos" maintained the momentum with a gloriously swinging glam-rock energy, while "Grey at the Temple" stripped everything back, leaving Lewis alone onstage with an acoustic guitar while the band took a short breather.
The quieter moments proved just as effective. A beautiful rendition of Tom Waits' "Little Trip to Heaven" saw Lewis seated behind the keyboard accompanied by sparse drums and bass, creating the atmosphere of a late-night jazz club. Neil Young's "Harvest Moon" followed, bringing the full band back into play for another warmly received interpretation.
One of the evening's surprises came in the shape of "A Man Named Sal", a song Lewis admitted somehow failed to make either album despite being a favourite of the band. Judging by its reception, it may deserve a future recording after all.
As the set headed towards its finale, "Fix Me Up" delivered one final burst of energy. Free from guitar duties, Lewis prowled the stage, throwing shapes while tribal rhythms, atmospheric keyboards and a thunderous low end drove the song forward. It was a fitting climax.
An encore featuring "Leech" and "She Comes" ensured there would be no quiet exit. The former benefitted from a glorious Hammond-style organ sound, while the latter explored the return of ghosts from the past, both literally and metaphorically.
Damian Lewis may be better known to many as an award-winning actor, but reducing this project to a celebrity sideline would be doing both him and his band a considerable disservice. They are not reinventing rock music, nor are they chasing trends, but what they do possess is an ability to write strong songs, perform them with conviction and move effortlessly between genres without ever sounding constrained by them. Refreshingly free of formula and packed with personality, this was a performance that left little doubt: Damian Lewis is far more than a famous face with a guitar. Most importantly, it's a show I'd happily go and see again, and that's perhaps the strongest endorsement of all.
Words - Steve Muscutt
Pics - © Julian Baird
