The Bad Plus, Band on the Wall. 2nd July 2026

A severe gear change tonight from the last gig, as we switch from drawn out drone chords, to complex avant-garde jazz with The Bad Plus. A long time fan, this is my first time watching them live. I, like many I suspect was turned on to them through their ‘These Are the Vistas’ record, with its genre hopping covers and invitingly open originals. I’m not expecting ‘Flim’ or ‘Smells Like Teen Spirit’ tonight though, I’m here to get lost in a 16 album career retrospective set, as they bid farewell on touring. Things have changed a bit over that time, original members leaving, replacements coming in and then leaving too. The big difference from how they started though, is the omission of the piano and the addition of guitar and saxophone/clarinet. Initially I’m hesitant. The mood is positive though. Band on the Wall is, well it’s rather civilised with the whole space seated. Cabaret style at the front with tables no less. There’s a hushed expectation, which feels, well, very jazz. The double bass and drums are warm and tight on ‘Casa Ben’, but the guitar and clarinet give them a much more expansive psych sound and it’s pretty wild. I’m not sure what I was expecting, I was open to anything, but this is a great start. The clarinet gets parked favour of the sax on ‘French Horn’ (of which there is none). The pace picks up and they sound more playful, but it’s the rythem section that’s grabbing me. The wild wind flourishes are fun, but I think I miss the piano. As bassist Reid introduces ‘Carrier’ the hush reveals a lot of sound bleed from the quartet next door (who I catch a bit of later on and are pretty decent), but it vanishes as they start up. There’s more space and subtlety. It’s rather beautiful and gives the guitar more room, which is used wonderfully. It’s the guitar I was most skeptical about and there are places it grates, but by and large, it’s quite a revelation. ‘Your Lady’, the Coltrane cover and indeed the only one tonight, is all about fearless experimentation and they really lean in, it’s gloves off stuff. The rythem sound anchors it but it’s pretty far fucking out. That guitar delves into prog territory and Dave King on drums is killing it. ‘Sun Wall’ packs a punch with the sax, but again those drums. They’re a one man arsenal. Most importantly they sound like a band though. They’re  not trading off one another, it’s a joyous melting pot. Although, to mute my point, ‘Salvages’ kicks off with a long bass solo. ‘Anthem for the Earnest’ sees them really hit their stride and fair play, it’s the double bass at the centre of the stage that holds everything together, from the wilder moments, to the tight jaunty pop hooks. They’re at their best when they get a bit loose. They look like they’re having fun and the crowd certainly is, with wild applause as each song concludes. ‘Tyrone’s Flamingo’ intros with a solo too, this time the drums. Some of the more controlled passages aren’t quite as fun, but you need these things to compare don’t you and over the whole set, they ebb and flow masterfully. ‘You Are’ really flexes and arguably sees them at their best live. It’s got everything from the tight control, to the chaotic abandon. The only trouble is my arse is going numb. There are a few people standing at the back, but having bagged a seat, I feel the urge to keep it. ‘Cupcakes One’ is so damn cool though I forget about my arse, or maybe it’s that I’ve started tapping my feet to the subtle ska bassline. Whatever it is, it sounds fantastic and nearly steals the show. ‘You Won’t See Me Before I Come Back’ wins the best song title and is chosen to close. It’s pure cinema. Feeling like walking around a large European city at dusk or dawn, the light playing with your sense of being. It works best though when the sax takes control. It’s taken 90 minutes, but I no longer miss the piano. ‘The Dandy’ is chosen to encore. It takes its time, but aptly does feel like a goodbye, with its lonesome clarinet and wistful guitar. It’s the perfect evening and my only regret is I’ve not taken the opportunity to see them more over the years, but I’ll always have tonight.