Suede – That Boy on the Stage Review

One last track to tide over the Suede fans before the release of their latest album, Autofiction, puttering out alongside the two tracks to come before it on a cosy, small EP. That Boy on the Stage would appear almost self-reflective if it weren’t in Brett Anderson’s nature as a lyricist to look back on the past. A return to the self-titled debut days of their sound is comfortable but also unique in what it does for these new tracks. They return to the old ways with new ideas and a desire to improve on their best bits and pieces. To do that, they must reflect not on their own styles and sounds but on how they cater and manage themselves on the stage, in front of an audience. That Boy on the Stage is just that, a riff on-stage performance.  

Shortest of the singles so far and arguably the best of the trio, That Boy on the Stage is a resounding experience. Harsh guitars and echoed vocals open a fierce track that has remarkable power underlining it. It, like She Still Leads Me On, shows a new vocal range for Anderson. That Boy on the Stage provides the greatest range of changes to his voice, and they all mark this short and sweet track as a stunning showcase. It is positively the best track Suede has made up to this point in their reunion. As reflective as it is bitter, a track that looks to showcase the possessive participation of being on the stage and the emotions that come from it. 

Whether that is rage or fear can be dictated through a return to their classic form. Suede is back with tracks that shuffle through their setlist of great, stylistic achievements. A roaring, lingering guitar provides great precedence to Anderson’s lyrical power here, a definitive showing that talks of the lack of control present while performing live. Hopefully, their Autofiction tour can mark the style Anderson sings of. A track that laments “where we belong”, on the stage, feels as hopeful as it does bitter about where Suede finds themselves in their live performances. Is it love? Is it hate? Whatever it is, it feels crisp, raw and as powerful as many of their finest tracks. 

There is still an iffy feeling to the mixing, but those issues can be ironed out by focusing on the inclusion of the drums despite their lack of presence. They may be drowned out, but they still provide an important, lingering effect that Suede are thankfully utilising well on That Boy on the Stage. Never underestimate the simplicity of rhyming “rage” and “stage”. It’s over before it starts. Suede round off their singles to promote Autofiction with some clear direction on where they hope to find themselves. They are reflecting without ripping, accepting their distance from their former selves while sifting through the archives and understanding what made their music great, and what keeps it great still. That Boy on the Stage marks the frontrunner track for Suede. Save the best until last, as they say. That is what they have done here.