LEVELLERS + POP WILL EAT ITSELF + SKINNY LISTER + PET NEEDS + TELLUMS – ‘SUMMER NIGHTS BY THE SEA’, DE LA WARR PAVILION, BEXHILL 19.7.25
‘Summer Nights By The Sea’ is the theme for two open-air concerts planned for July, on the South Lawns of The De La Warr Pavilion in Bexhill, by promoter FORM. Doves, Turin Brakes and B C Camplight are scheduled for Saturday 26th July, and today’s impressive lineup is headlined by Brighton folk-punk legends Levellers (sometimes styled as The Levellers). With the best-laid plans for outdoor events, the British weather can sometimes intervene, and the music for today’s event has had to be brought inside for safety reasons. Thunderstorms and heavy rain were forecast for the previous night and the morning of the show, making the setup of the outdoor stage difficult and potentially hazardous for the technical crew. The staff have worked hard to re-set in the venue’s main auditorium, which can accommodate the holders of the 1,300 advance tickets sold, but the show is now officially sold out, with a first-come-first-served system of wristbands to access the downstairs standing area.
Unsurprisingly, there’s an impressive queue in anticipation of the 3pm opening. Equally unsurprising is that the weather, by this time, has reverted to being calm, clement and sunny. The outdoor area on the South Lawns, ringed by blacked-out Heras fencing, is still accessible for patrons to get a bit of south coast sea and sky, and sample the wares of the event’s food stalls, but all the music today will be indoors.
Opening the show at 3:30pm we have Tellums, a local act from Bexhill which is the vehicle for singer-songwriter Elliott Furlong. He sometimes fronts a three-piece band, but today performs solo with a backing track. A recorded introduction of big synth chords and busy drums heralds his arrival on stage. A tall figure toting an Ibanez semi-acoustic guitar, the lighting theme reflects his penchant for pastel colours, especially purples, and contrasts nicely with his yellow shirt. “How’s that?” he enquires, with a cheeky grin, and launches straight into the anthemic pop of ‘Bubblegum Dreams’.
For a performer at the start of his career, Elliott owns the space of the big stage with an insouciant ease, and works the crowd like a seasoned pro. The quality of songwriting is outstanding, with brisk rhythm guitar gliding smoothly over the electronic backing, transporting us effortlessly to the next massive hook. “Let’s see some movement,” the singer implores, launching ‘Sunny State Of Mind’, making his own contribution by dancing to the extremes of the stage apron. After the skittering backing of ‘The Good And The Gold’, the more reflective ‘Marigold’ is beautifully executed with just voice and guitar. Closing number ‘Picasso’ is particularly impressive, with Elliott orchestrating a crowd singalong that gets an enthusiastic take up.
Being old school, I’d personally prefer to see a full band, but these are quality pop songs that clearly have a cross-generational appeal, and I suspect they will thrive in any format. Look out for Tellums. The future may well be purple pastel pop.
Tellums:
Elliott Furlong – vocals, guitar
Tellums setlist:
‘Intro (Phoning From Jupiter)’
‘Bubblegum Dreams’ (from 2022 ‘Telefon’ album)
‘Motion Blur’ (unreleased)
‘Sunny State Of Mind’ (a 2023 single)
‘The Good And The Gold’ (unreleased)
‘Marigold’ (unreleased)
‘Cooler In The Moment’ (unreleased)
‘Picasso’ (from 2022 ‘Telefon’ album)
Next onstage, at 4:15pm, are PET NEEDS, a 4-piece from Colchester in Essex. I was hugely impressed by their 2021 debut album ‘Fractured Party Music’ but this is the first time I’ve caught them live, and I’m not disappointed. It’s a lively and bouncy sort of pop-punk, with no shortage of earworm hooks. Brothers Johnny and George Marriott are on lead vocals and guitar, respectively, with Ryan on bass and Jules on drums. The resolution of a technical issue gives Johnny a chance to engage with the crowd. “Thanks so much for going inside,” he quips. “I know we’re competing with the actual sun.” He’s witty and charismatic, and a humorous anecdote about a recent Glastonbury appearance, trying to sell T-shirts when playing at a nudist spa, is very well received.
We’re back to the music with a couple of tracks from the amusingly-titled third studio album, ‘Intermittent Fast Living’. The tight ending of the briskly urgent ‘Sleep When I’m Dead’ is marked by an air punch from Johnny, and the vocalist gets some impressive air under vigorous leaps during ‘Fingernails’. Drummer Jules has dispensed with his shirt, and is busy around the toms on ‘Separation Anxiety’. Johnny is showboating, balancing the mic stand by the boom end, which goes surprisingly well until he drops the actual microphone, much to the amusement of his brother George. The high velocity guitar chug of a standout number from the debut album careers spectacularly into its glorious refrain of “It’s like Tracey Emin’s bed in my head”.
Johnny makes an impassioned speech about the importance of merch sales to keep a band on the road. Judging by the knot of young fans dancing enthusiastically at the front, they’ve sold quite a few T-shirts already. George is soloing with his guitar above his head during the naggingly catchy ‘Scratchcard Anxiety’. There’s a moody breakdown, but we’re soon back to full tilt. The crowd around me are really into it, jumping in the strobe light for ‘Trip’, and clapping and singing along to ‘Toothpaste’. This has been a most enjoyable set, and PET NEEDS are well worth catching, if you get the chance. They’ll be playing in Brighton at the Green Door Store on 5th December – Tickets HERE.
Pet Needs:
Johnny Marriott – lead vocals
George Marriott – guitar, vocals
Ryan Sharman – bass, vocals
Jules Marrison – drums
Pet Needs setlist:
‘Punk Isn’t Dead (It’s Just Up For Sale)’ (from 2017 ‘As Kites Fly By Pylons’ EP)
‘Sleep When I’m Dead’ (from 2024 ‘Intermittent Fast Living’ album)
‘Fingernails’ (from 2024 ‘Intermittent Fast Living’ album)
‘Ibiza In Winter’ (from 2022 ‘Primetime Entertainment’ album)
‘Separation Anxiety’ (from 2024 ‘Intermittent Fast Living’ album)
‘The Age That You Were’ (from 2024 ‘Intermittent Fast Living’ album)
‘Tracey Emin’s Bed’ (from 2021 ‘Fractured Party Music’ album)
‘Scratchcard’ (from 2021 ‘Fractured Party Music’ album)
‘Trip’ (from 2024 ‘Intermittent Fast Living’ album)
‘Toothpaste’ (from 2021 ‘Fractured Party Music’ album)
‘Get On The Roof’ (from 2022 ‘Primetime Entertainment’ album)
At 5:30pm we have Skinny Lister, a five-piece folk-punk outfit formed in London in 2009. Guitarist Dan shares lead vocals with Lorna, who wears a rather striking patterned jumpsuit. Lorna’s brother Max plays melodeon, which is like an accordion but with buttons instead of keys, and he also has a mandolin on a stand, ready to go. The rhythm section comprises Scott on double bass and Owen, today deputising for regular drummer Tim. With seven studio albums under their belt, the band has an extensive catalogue to draw upon, and it’s very lively stuff that has the crowd dancing from the get go. The double bass is played resting on the monitors during ‘George’s Glass’, and then whilst held spectacularly aloft during ‘Tragedy In A Minor’, a bouncy piece that has the crowd chanting along.
There’s a local connection as some of the band lived in Hastings for a while, and by special request of one happy fan, they play ‘Damn The Amsterdam’, a song about a Dutch East Indiaman that sank during a storm in the Channel in 1749. The wreck was discovered off Bulverhythe, near Hastings, in 1969, and is sometimes visible at low tide. It’s a cracking song, the insistent rhythm enhanced by everyone stomping along with their feet. ‘Unto The Breach’, from the appropriately-titled ‘Shanty Punk’ album, inspires more joyful dancing. Another lilting piece from that collection, ‘Arm Wrestling In Dresden’, is about the sometimes inadvisable exploits attempted under the influence of drink. Lorna is over the barrier, challenging individual audience members to an arm wrestle on the auditorium floor. Drinking is a prevalent theme in this style of music, and a large ceramic flagon is passed around in the audience during ‘Bold As Brass’.
There’s a traditional singalong with ‘John Kanaka’, and then a big bounce underway during ‘Rollin’ Over’. The band look like they’re enjoying the occasion, and pose for a photo in front of their appreciative fans before concluding a fun set with ‘Company Of The Bar’. There’s plenty of dancing and clapping along, and loud calls for more at the end, unanswered due to the event’s tight schedule. If folk-punk is your thing, Skinny Lister are a lot of fun to catch live.
Skinny Lister:
Dan Heptinstall – vocals, guitar
Max Thomas – melodeon, mandolin, vocals
Lorna Thomas – vocals
Scott Milsom – double bass, vocals
Owen – drums (deputising for Tim Hillsdon)
Skinny Lister setlist:
‘Wanted’ (from 2017 ‘The Devil, The Heart & The Fight’ album)
‘Tipple’ (unreleased)
‘George’s Glass’ (from 2015 ‘Down On Deptford Broadway’ album)
‘Tragedy In A Minor’ (from 2017 ‘The Devil, The Heart & The Fight’ album)
‘Colours’ (from 2013 ‘Forge & Flagon’ album)
‘Damn The Amsterdam’ (from 2021 ‘A Matter Of Life & Love’ album)
‘Unto The Breach’ (from 2023 ‘Shanty Punk’ album)
‘Forty Pound Wedding’ (from 2013 ‘Forge & Flagon’ album)
‘Arm Wrestling In Dresden’ (from 2023 ‘Shanty Punk’ album)
‘Bold As Brass’ (from 2015 ‘Down On Deptford Broadway’ album)
‘John Kanaka’ (traditional, from 2013 ‘Forge & Flagon’ album)
‘Rollin’ Over’ (from 2013 ‘Forge & Flagon’ album)
‘Company Of The Bar’ (from 2023 ‘Shanty Punk’ album)
Next on, at 7pm, we have Pop Will Eat Itself. Formed in the West Midlands in 1986, they scored chart hits in 1989 with singles ‘Wise Up! Sucker’ and ‘Can U Dig It?’, a sample-heavy blend of rapped vocals and electro-punk. I’ve always had a soft spot for the ‘Poppies’, as they are sometimes known, and was delighted to review them doing a warmup show at grassroots venue The Piper, in St Leonards last September – Review HERE. The band continues to record, with a new album ‘Delete Everything’ scheduled for release in October. The accompanying tour includes a date at Brighton’s Concorde 2 on 7th November – Tickets HERE.
The current lineup has settled as a five-piece, with the dual rapped vocals provided by original member Graham Crabb and Mary Byker (also of Gaye Bykers On Acid). Fellow founder Adam Mole provides keyboards and guitar, with Davey Bennett on bass. Drummer Cliff Hewitt is custodian of the all-important laptop, with its digital treasure trove of samples and electronic backing.
The brooding judder of ‘The Incredible P.W.E.I. vs Dirty Harry’, with Graham and Mary rapping the initials of the band name, opens the set before we’re straight into the newer material with ‘Disco Misfits’, released as single earlier this year. Adam’s on guitar, with electronic howls swirling in the background, and an urgent vocal, largely rapped in unison. Graham’s megaphone is out for the classic ‘Wise Up! Sucker’, and heavy drums and keyboard introduce ‘Get The Girl! Kill The Baddies!’, a top ten single from 1992. The vocalists bounce through the still-relevant ‘Ich Bin Ein Ausländer’, and Adam’s live guitar combines beautifully with the backing track on the awesome ‘Can U Dig It?’. Stuttering rhythm and squealing lead frame the “Riffs! Yeah!” hook.
‘Bruiser’ is another recent single that will feature on the forthcoming album. Adam briefly takes the lead vocal during the middle section. Graham’s down on the barrier, getting up close with the audience during ‘Everything’s Cool’, and ‘Dance Of The Mad Bastards’ is appropriately manic. Sirens introduce the ludicrously catchy ‘PWEI-zation’, and the vocalists incorporate some suitably rhythmic grunts into ‘Bulletproof’. The iconic juxtaposition of familiar samples punctuates the classic ‘Def Con One’. This track is one of my all-time favourites, so I abandon my notes to have a dance. The “Big Mac, fries to go” hook has been stuck in my head since 1989, and tonight’s performance is unlikely to dislodge it. ‘Their Law’, a 1994 collaboration with The Prodigy, concludes an absolutely outstanding set. Graham is right into the crowd, whilst Adam is balanced precariously on his keyboard stand, instrument held aloft in triumph. I can’t wait for the new album and tour.
Pop Will Eat Itself:
Graham Crabb – vocals
Mary Byker – vocals
Adam Mole – keyboard, guitar, vocals
Davey Bennett – bass
Cliff Hewitt – drums
Pop Will Eat Itself setlist:
‘The Incredible P.W.E.I. vs Dirty Harry’ (from 1990 ‘Cure For Sanity’ album)
‘Disco Misfits’ (a 2025 single)
‘Wise Up! Sucker’ (from 1989 ‘This Is The Day…This Is The hour…This Is This!’ album)
‘Get The Girl! Kill The Baddies!’ (from 1992 ‘The Looks Or The Lifestyle’ album)
‘Ich Bin Ein Ausländer’ (from 1994 ‘Dos Dedos Mis Amigos’ album)
‘Can U Dig It?’ (From 1989 ‘This Is The Day…This Is The hour…This Is This!’ album)
‘Bruiser’ (a 2025 single)
‘Everything’s Cool’ (from 1994 ‘Dos Dedos Mis Amigos’ album)
‘Dance Of The Mad Bastards’ (from 1990 ‘Cure For Sanity’ album)
‘PWEI-zation’ (from 1989 ‘Very Metal Noise Pollution’ EP)
‘Bulletproof!’ (from 1992 ‘The Looks Or The Lifestyle’ album)
‘Def Con One’ (from 1989 ‘This Is The Day…This Is The hour…This Is This!’ album)
‘Their Law’ (The Prodigy cover)
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At 8:30pm it’s time for the headline act. It’s now seven years since Levellers last played the De La Warr Pavilion, and that was an acoustic show. I last caught the full band at Brighton’s Preston Park in 2015, and I’m pleased to report they seem to have lost none of their urgency and edge. The band formed in Brighton in 1988, and has since completed thirteen studio albums, three of which reached the top five of the UK charts in the 1990s. The lineup has been relatively stable, with four original members remaining. Guitarist and lead vocalist Mark Chadwick is a familiar figure in his trademark pork-pie hat, whilst bassist Jez Cunningham is equally distinctive with long dreadlocks. Jon Sevink plays a strikingly intricate violin whilst bouncing energetically, and drummer Charlie Heather is fluid and powerful behind an extensive kit. Keyboard player Matt Savage has been in the band since 2003, and also adds guitar and percussion. Dan Donnelly, on guitar and mandolin, is the most recent recruit. Initially covered while Simon Friend was on hiatus, he’s been a full time member since 2022.
It’s easy to see why the band’s anthemic folk rock has remained so popular, and their anarcho-punk political stance seems as relevant as ever. The sound is massive and adeptly played, with plenty of energy and movement on stage. Jez, Jon and Matt bounce through the opening flurry of numbers from ‘Levelling The Land’, with bass and violin frequently swapping sides. Dan switches to guitar and there’s vibey harmonica in the moving ‘Battle Of The Beanfield’. Dan takes the lead vocal on the more recent ‘Four Boys Lost’, pausing to strike a pose with Mark mid-stage while Jon gets busy with a stunning violin break.
For ‘The Boatman’, Charlie comes out from behind the kit, walking to the front with a side drum slung from his hip. The lights dim and the rest of the band briefly leave the stage for the ‘Jig’, which heralds the appearance of didgeridoo player Steve Boakes. Steve’s outfit and instrument incorporate plenty of fluorescent material, freakily lit up by an ultra violet light, and it looks and sounds awesome. As the band returns for ‘One Way’, Steve stays on to add majestic sweeps of didge and some manic dancing, somehow avoiding clattering into anything or anyone with the unwieldy instrument.
The set moves on with relentless energy and a torrent of classic numbers. I particularly like the co-ordinated bounce of the players during ‘Sell Out’. ‘The Cholera Well’ is very lively, with Matt providing additional guitar. A throaty roar of “Liberty!” from bassist Jez opens the final number of the main set, as clanging guitars and a huge snare build launch ‘Liberty Song’. The band has been playing for an hour-and-a-quarter by now, and I’m impressed Dan still has the energy for a spectacular scissor kick.
There’s little doubt that there will be encores, and the chants from the crowd brook no argument. We’re treated to three more numbers, culminating in the ever-popular ‘What A Beautiful Day’, a fitting end to an excellent event.
Levellers:
Mark Chadwick – vocals, guitar
Jez Cunningham – bass, vocals
Charlie Heather – drums
Jon Sevink – violin
Matt Savage – keyboards, guitar, percussion, vocals
Dan Donnelly – guitar, mandolin, harmonica, vocals
Steve Boakes – didgeridoo
Levellers setlist:
‘The Riverflow’ (from 1991 ‘Levelling The Land’ album)
‘Fifteen Years’ (from 1991 ‘Levelling The Land’ album)
‘Battle Of The Beanfield’ (from 1991 ‘Levelling The Land’ album)
‘Four Boys Lost’ (from 2020 ‘Peace’ album)
‘Truth Is’ (from 2012 ‘Static On The Airwaves’ album)
‘The Road’ (from 1991 ‘Levelling The Land’ album)
‘The Boatman/Jig’ (from 1991 ‘Levelling The Land’ album)
‘One Way’ (from 1991 ‘Levelling The Land’ album)
‘Another Man’s Cause’ (from 1991 ‘Levelling The Land’ album)
‘Men-an-Tol’ (from 1995 ‘Zeitgeist’ album)
‘Sell Out’ (from 1991 ‘Levelling The Land’ album)
‘World Freak Show’ (from 1990 ‘A Weapon Called The Word’ album)
‘Carry Me’ (from 1990 ‘An Agreement Of The People’ album)
‘Dirty Davey’ (from 1993 ‘Levellers’ album)
‘The Cholera Well’ (from 2008 ‘Letters From The Underground’ album)
‘Liberty Song’ (from 1991 ‘Levelling The Land’ album)
(encore)
‘Far From Home’ (from 1991 ‘Levelling The Land’ album)
‘England My Home’ (from 1989 ‘Carry Me’ EP’)
‘What A Beautiful Day’ (from 1997 ‘Mouth To Mouth’ album)
It would have been nice to be outside, but it’s been an excellent day of music with a great atmosphere in the packed hall. Well done to the team who worked so hard to salvage the event from the vagaries of the weather. Tickets for the 26th July event can be found HERE.
