It was my first time journeying through the breathtaking Calderdale hills, a landscape that felt like a living painting—rolling greenery, dramatic skies, ending with a winding hill climb, leading me to the majestic Grade I listed Piece Hall. Initially, I thought it was some grand architectural homage to the Italian piazzas, but what I discovered was something far more grounded in British history: a honey-hued Georgian masterpiece originally built for the trading of ‘pieces’ of cloth. A marketplace of commerce transformed into this cultural haven.
From its roots in the textile trade, to its rebirth as a vibrant venue for music and arts, The Piece Hall has evolved into a space that embraces creativity and community. On this particular evening, it opened its historic arms to none other than 90’s indie hereos, Supergrass.
Before they were pumping on our stereos, Coombes was just a music-obsessed teenager chasing a dream. Born in Oxford in 1976, he spent part of his childhood in San Francisco before returning to the UK at age nine. By 14, his passion for music had already led him to form his first band, ‘The Jennifers’, which briefly signed with Nude Records before disbanding when he was just 16.
While working at a local Harvester restaurant, Coombes struck up a friendship with fellow employee Mickey Quinn. Alongside his longtime friend Danny Goffey, the trio went on to form Supergrass—marking the beginning of a new chapter in British rock.
Fast forward 30 years, Summer 2025 has been a Britpop lover’s dream. Oasis gave us what we thought would never happen, Pulp dropped a new album, and even Robbie Williams released a record titled “Britpop.” So, it felt only fitting that Supergrass, led by the ever-charismatic Coombes, brought their own slice of nostalgia to the stage, celebrating the 30th anniversary of their debut album I Should Coco— tonight, Coombes affectionately referred to as a “mad little record.”
Released in 1995, I Should Coco became a million-selling phenomenon and Parlophone’s fastest-selling debut since The Beatles. A whirlwind of pop-punk energy, bursting with catchy, rebellious anthems about misfits, teenage chaos, and the awkward beauty of growing up. For me, Supergrass were more than just a band—they were part of the soundtrack to my youth. So, the chance to hear this album performed in full, live, felt like stepping into a time capsule.
The Piece Hall wasn’t packed to the rafters, but it buzzed with anticipation. The backdrop featuring the Coco album artwork sent a wave of goosebumps down my spine as it transported me back to a time when guitar bands ruled the airwaves, venues were alive with energy, and I had just started my first Saturday job—mainly to fund my insatiable appetite for live music. Supergrass were among the bands that defined that era for me, their songs echoing the spirit of youth and rebellion.
The band took the stage to the sirens and opening riff of The Sweet’s ‘Blockbuster’, setting the tone for what was to come. They launched into ‘I’d Like to Know’, the opening track from I Should Coco, followed by the mischievous ‘Caught by the Fuzz’. Coombes, with his signature cheeky grin, looked like he hadn’t aged a day—still carrying that spark of youthful defiance.
Down at the front, the crowd was a beautiful mix of long-time fans and fresh faces, all swept up in the energy. But it was during the punky eruption of ‘Mansize Rooster’ that everything truly ignited. Inspired by Coombes’ own adolescent ‘adventures’ the song is a riotous celebration of youthful energy. I found myself singing along in the pit, grinning like a Cheshire cat, completely immersed in the moment.
‘Late in the Day’ gave way to one of the evening’s standout songs for me. —‘Mary’, a personal favourite that never fails to get you in the groove. From the very first time I heard it, I fell for that hypnotic bassline paired with the eerie keys and that atmospheric riff. For me, it’s one of Supergrass’s finest tracks, a gothic-tinged gem inspired by the classic Hammer Horror films of the 1950s. The accompanying video, equally theatrical and slightly disturbing, was banned from TV, adding to their cult appeal.
‘She’s so loose’ followed. Probably inspired by the response to Coombs ‘Mansize Rooster’. Can I say that? Whether that was intentional or not is anyone’s guess, but it certainly felt like the songs were arranged to reflect the order of key moments in Gaz Coombes’ life. That impression was reinforced by the placement of “Lose It” and the provocatively charged “We’re Not Supposed To,” nestled side by side.
While these tracks have long been staples of Supergrass’s live shows, this anniversary tour brought some rare gems back into the spotlight. Songs from I Should Coco that haven’t seen the stage for quite some time—like the swirling, psychedelic-tinged “Sofa (of My Lethargy)”—added depth and reminded me just how rich and varied that debut album truly was.
This performance was a masterclass in both nostalgia and raw energy. It felt like stepping into a TARDIS, instantly transported back to my late teens. The setlist was so well-crafted it could have been written by a fan—each transition seamless, each choice deliberate.
As the set edged toward its finale, the band dialled things down with the beautifully introspective “Moving,” offering a moment of reflection before the encore. When they returned to the stage, it was with the timeless anthem “Sun Hits the Sky,” reigniting the crowd’s energy. And of course, they closed the night with…you guessed it – The explosive “Pumping on Your Stereo”—a fitting, high-octane send-off that left the audience buzzing.
If Supergrass were an ice cream, they’d be a two-scooper. A tasty blend of early punk and ’70s rock—bold, layered and satisfying. A flavour you can’t quite describe but pure joy to devour. Their ability to synthesize a wide range of musical influences into a sound that remains fresh, familiar, and uniquely theirs is a testament to their enduring relevance.
Thirty years on, their music still resonates across generations.
For me, ‘I Should Coco’ remains a timeless masterpiece. Supergrass? Well, they’ve proven they’re far more than just “Alright.” They were exceptional.
WORDS AND PHOTOS BY SHAVORNE WILBRAHAM
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