Stereolab, The Ritz. 11th December 2025

Stereolab are a band that were always on the periphery for me. A band whose singles caught my ear, but whose albums I’ve not really explored too deeply. I suspect I’m not the only one, but the sold out Ritz is full and buzzing, suggesting tonight’s crowd might be more well informed than me. I’m more familiar with the albums from the 90s, but there’s a much larger catalogue and even a brand new album, their first proper release in 15 years, much of which I’m hearing for the first time tonight. So I’m not really sure what to expect. They take to the stage amidst a swirl of analogue motorik beeps, before slipping into the easy jazz pop rhythm of ‘Aerial Troubles’. It’s not an exciting opener if I’m being a little harsh, but it closes with a nice coda, that shows some promise. ‘Motoroller Scalatron’ has a bit more bounce in its step, with Lætitia jumping excitedly as she sings. It’s fair to say they find a groove and lock in, something of which I’m a big fan. They sound controlled and quite minimal really. A couple of tight guitars tease over the simple drums and cinematic bass. It’s all tied together by the synth and on ‘Transmuted Matter, a trombone. ‘Peng! 33’ ups the tempo as we hit 90s indie disco territory. The guitars get turned up and the drummer gets to have a bit more fun in the lyric free chorus. It’s going well on stage, but the chap in front of me tries to clap with a pint in his hand. Rookie mistake. ‘The Flower Called Nowhere’ makes me feel like I should be pottering around the house barefoot with a mug of tea on a pleasant summer Sunday morning. Checking on the houseplants, oblivious to the concept of time. It’s not twee though, ‘Melodie is a Wound’ has a soft driving menace. Helped by the biting 60s riff. It’s taken me a while to connect, but this is fantastic as it explodes in a maelstrom of psychedelic abandon. Despite the bewildering array of sounds coming from the stage, it all sounds delightfully analogue and despite its avant grade defiance, it’s raw, free and deeply engaging. This is easily the highlight of the set for me. ‘If You Remember I Forgot How to Dream Part 1’ brings back the tight lounge vibes, before ‘If You Remember I Forgot How to Dream Part 2’ gets a bit looser. ‘Miss Modular’ too, with its funk disco flex gets the crowd moving. I’m upstairs and can see a sea of heads gently bobbing and swaying happily beneath me. ‘Household Names’ has that wide open groove again, on which they’re able to twist and soar. I did wonder how this would feel live, but I’m totally sold. There’s a formula for sure, but they craft a set that plays with it beautifully. The 80s synth spring of ‘Esemplastic Creeping Eruption’ counters the deep French accented vocal, before a distorted guitar chug joins the party and they show just playful they can be. It’s stuff like this that sets them apart and makes me thankful to be in the room to witness it. ‘Percolator’ takes the motorik beat and lathers it in Herbie Hancock synth squelch. Before Lætitia teases that ‘Electrified Teenybop!’ is the last song. We all know it’s not, but it would be worthy. It’s got end credits vibes, with a wall of magnificent guitars and a synth line that builds and builds. It’s almost a shock when it finishes and they depart the stage. Honestly I’d be quite happy here. We’re touching 90 minutes already, but there’s more of course. It does tickle me as patrons around me get genuinely excited at their return. “I told ya!” shouts pint clapping man to his mate, as ‘Immortal Hands’ leads us back in with some European folks vibes. They take flight once more as the trombone returns and they jam effortlessly. That’s what this feels like. The Ritz is not a small room, but they make it feel intimate, that we’re watching them in a rehearsal space. ‘Cybele’s Reverie’ closes. It would’ve been nice to hear ‘French Disko’, but I came in not knowing what to expect, but this was really good. It’s an impressive set (with some wonderful song titles) and is quite an evening of revelation. I really should’ve been paying more attention all these years.