The Panic Years ain't so bad with Bradley Simpson

Under the red haze of an unassumingly packed venue, Bradley Simpson returned to Bristol to celebrate the release of his debut album, The Panic Years.

Opening the night were The Neck Breakers, a sibling trio who served as special guests for a handful of southern tour dates. Their chilling acoustic set and stunning harmonies created an intimate atmosphere, perfectly setting the tone for the next act, Nieve Ella.

Joined by her guitarist and certified “best mate” Finn Marlow, Nieve brought an energy that made it feel, for a moment, like it was her own headline show. Especially judging by the front row, singing along to every word. Her acoustic set opened with The Things We Say, followed by her hit Car Park, a clear fan favourite judging by the crowd’s volume. Nieve’s connection with the audience was instant and sincere. She repeatedly thanked Brad for the opportunity, and paused mid-set to sweetly thank a group of fans for the friendship bracelets they’d handed her, just one of many moments that made the evening feel uniquely personal.

A blurry haze of red smoke covered the venue with anticipation before the chords of the album’s opener ‘Getting Clear’ kicked in and Brad came out to a thunderous applause. His commanding stage presence and infectious giddy spirit had the crowd matching his energy from the off. Getting Clear served as the perfect opener. The gritty bass, and the “how ‘bout shaking hands?” line inviting a special moment between him and one lucky fan in the front row.

Without a second to catch your breath, next up was Picasso, pausing afterwards for a small intermission between songs for the first of many thank yous. “Hello, Bristol,” he says, grateful to the crowd for spending the evening with him, before picking up his acoustic guitar for the intro of Cry at the Moon, kickstarted by a howl from Bradley that echoed through every inch of the venue.

Following the sell-out success of a string of shows to close out 2024; largely used to road-test his solo material, the Panic Years tour arrived just a few months after the official release of his debut album.

Perhaps even more impressive, though, was Simpson’s ability to sell out venues across the UK and Europe before releasing a single track. Fans snapped up tickets, trusting in the artist they’ve long supported, and were rewarded with intimate sets of unreleased songs, the occasional cover, and the rare chance to witness a beloved performer at the very beginning of his solo journey. For many, this current tour feels like a long-awaited moment. It’s a joy to see someone step into unfamiliar territory and flourish so naturally, an incredibly special experience for both fans and artists alike. A sentiment he himself has expressed at every given opportunity, full of gratitude for the fans showing up for him, and the incredible team of people who have supported him throughout his tour.

The front-man magic is nothing new to Bradley. He may be at the beginning of his chapter as a solo artist, the charismatic stage performances are something he’s spent over a decade perfecting thanks to his band and best mates in The vamps. They have followed a seemingly increasing trend of not disbanding, but prolonging group album cycles and using the downtime to create music as solo artists. Taking every opportunity to assure fans they are in fact still together, but also enjoying the freedom of creating work alone for now as families and other personal projects understandably take the forefront. An incredibly healthy dynamic that invites artistry that may not have ever been otherwise explored.

Joined on stage by Elena Costa on drums, and James Atwood on guitar, Brad invited Nieve back on stage halfway through his set for a special performance of Favourite Band. The single recently got a refresh with Ella’s female perspective layered in. Her vocals take over the second chorus, adding a fiery twist about winning the breakup by having your ex’s new lover become your fan. A delightful surprise each night on this tour has been a unique cover, often a nod to a local band in that area. But one cover has stuck, 505 by Arctic Monkeys which quickly became a crowd-pleasing staple.

One of the most cherished moments of the evening came with the acoustic performance of The Band’s Not Breaking Up. “Okay, we’re going to do this one acoustic,” Brad announced, before parting the crowd in the pit and creating a circle of calm. With the audience respectfully hushed, it was just him and his guitar for three minutes of pure, quiet tranquility. Swiftly followed by Holy Grail, a favourite since it was first previewed to fans on his previous solo tour.

The intent to create special moments throughout the night was rightfully ended by one final request from Bradley. Before Always Like This he took a second to playfully tease members of the crowd who had been filming the show on their phones. He asked for one phone-free moment in the show, everyone present and dancing for their lives for one final chorus, and a burst of energy. “I want you to go absolutely crazy” he said, before a countdown ended and arms were bobbing up and down for a moment of pure and present joy.

After a short intermission, Bradley returned for a two-song encore featuring the singles that marked the beginning of his solo era. During I’ve Been Picking Daisies, fans borrowed from Harry Styles’ flower-throwing tradition, showering the stage with dozens of white blossoms. A fitting final touch for a show that felt as much like a celebration as it did a cathartic release.

Bradley’s performance was a reminder that even in the messy heart of your twenties; the so-called Panic Years, you can still dance, feel joy, and find moments where everything feels okay. For a night of joyful escape, vulnerability, and communal comfort, you couldn’t ask for anything more.