Back again at the countries largest indoor arena to sample the auditory delights of the Welsh indie-rock wonders, The Stereophonics. With a career spanning nearly three decades, they’ve sold over 16 million records worldwide, earned multiple UK number-one albums, and delivered countless arena-filling anthems that defined modern British rock.
Few bands have managed to carve out a legacy as rich and lasting as the Stereophonics. Emerging from the small Welsh town of Cwmaman (so glad I’m writing this and not saying it) in the mid-90’s, they quickly became one of the UK’s most beloved indie-rock acts. I was just 19 when I bought their debut album, Word Gets Around. If I remember rightly, I’d just finished my A Levels and had zero interest in going to university. Instead, I signed on whilst looking for a job and continued to spend my ‘rock n roll dough on CD’s. Oasis, ‘Be here now’ was also on the purchase list along with another Welsh indie band Super furry animal’s ‘Radiator’.
‘Word gets around’ was an unapologetically raw snapshot of working-class life. Songs like “Local Boy in the Photograph” and “A Thousand Trees” captured everyday stories with honesty and grit, setting them apart from the Britpop wave dominating the charts at the time. ‘A thousand Trees’ was the bestselling track from the album but for me, it was the stunningly beautiful ‘Traffic’ and ‘Billy Davey’s Daughter’ which showcased the wonders of Kelly’s vocal.
Kelly Jones’ instantly identifiable raspy, voice became their signature. Apparently, his distinctive gravelly tone is partly due to years of singing without formal vocal training. There’s clearly a lot to be said for not following a rulebook when you land with a voice this soulful and emotive. I instantly fell in love with their sound on first listen.
I’ve seen the ‘phonics’ 8 times now. The last time was during their “Kind” tour, at the then-named FlyDSA (now Utilita Arena) in Sheffield. I can remember sitting up in the gods, (where oxygen masks should come as standard), looking down at the sea of excitement with this horrific gut feeling that said, ‘This is gonna be your last gig for a while’. And it was. For multiple reasons. But two weeks later, Boom… The whole country goes to hell in a handcart. Officially known as ‘Lockdown’. We all know how that played out.
By the early 2000s, the ‘phonics’ had already evolved into stadium giants.
And here we are now, exhibit A – The Co-Op Live. The state-of-the-art arena on Manchester’s Etihad Campus, built to make every fan feel like they’re in the front row, roared to life once again, packed to the rafters (about 20K) the air thick with anticipation.
Before the main act, the evening kicked off with support from Middlesbrough-born artist Finn Forster. Coming from the industrial heart of Teesside, Finn is a talented singer-songwriter/guitarist. His music is steeped in personal storytelling and real-life experiences. His journey began in musical theatre, a background he credits for building his confidence on stage, apparently saying “If you can go on stage dressed as an idiot… then standing there as a musician feels easier.”
At times, his vocal delivery carried a hint of Caleb Followill from Kings of Leon, a comparison my photographer friend agreed with. Finn’s rise has been impressive, championed early by BBC Introducing as “One to Watch” and earning a three-week playlist spot on BBC Radio 2.
His performance was polished and engaging, with genuine gratitude shown to the crowd for their time and attention. Backed by an energetic band, Finn delivered a set that showcased his beautiful voice and heartfelt songwriting. A thoroughly likeable, impressive artist with a bright future ahead.
Stage lighting goes down while house lights remain on and totally focus on Kelly as he swiftly strolls onto stage, picks up his guitar and makes his way down the catwalk, opening with the punchy “Vegas Two Times”, Kelly grinned at the crowd and shouted: “Manchester, you’ve always been good to us—let’s make this one to remember!”
From there, the band launched into a 23-song set that spanned decades. Classics like “Have a Nice Day” were joyous to hear live again. This is my mum’s favourite. She’d occasionally serenade me with her own version in the mornings, as I walked out of the door to a job I detested. “Local Boy in the Photograph” had the audience singing every word. Before playing the latter, Kelly paused for a heartfelt moment:
“This one’s for Mani, sending love to him and his family tonight.” Adding in a snippet of Waterfall by the Stone Roses.
The new material from Make ’Em Laugh..slotted in seamlessly. Introducing “There’s Always Gonna Be Something”, Kelly reflected: “We wrote this one thinking about how life throws curveballs—but there’s always a way through.”
Stagecraft was razor-sharp and brimming with confidence. Kelly Jones, rocking his trademark leather jacket and skinny jeans, prowled the stage like a man who owned it. Meanwhile, Jamie Morrison was a force of nature behind the kit. His drums lit up like Blackpool Illuminations as he pounded away with wild abandon, blonde hair thrashing like it had its own solo. Jamie’s drumming was a highlight for me. At one point, mid-shot, I caught myself thinking: “I wonder how much drumming lessons cost?” because that’s a totally normal thought when you’re photographing a world-class rock band. He inspired me I suppose. Then came “Geronimo”. Kelly turned to the crowd with that trademark grin: “You lot sound incredible tonight—keep it coming!” Pure magic. Kelly turned the finale of Geronimo into a playful ‘call-and-response’ game with the audience – but with his guitar doing the talking. Each riff was met with a sea of raised arms and a roar of cheers, the crowd echoing back like a well-rehearsed choir.
The thoughtful ‘Maybe tomorrow’ followed, beginning with a beautiful acoustic intro. One of my favourites. Things got livelier with ‘More life in a tramps vest’ with seated audience members now on their feet, arms punching the air. Next to me stood a bloke in what I can only describe as a ‘Phonics-inspired leather’ jacket—proper rock-star vibes. Then, mid-gig, he whips out his phone and starts showing his mate pictures of Kelly Jones in the iconic leather, asking for a side-by-side comparison like we’re in a fashion tribunal, myself and his friend giving enthusiastic feedback, nodding. To be fair, his jacket was more Primarni than Belstaff, but I just found it endearing—two mid-40s lads still chasing Kelly’s style like it’s 1999. Was lovely to see.
Kelly immersed everyone into the story about the band’s humble beginnings, “We were so young, none of us could drive, and nobody we knew had a van,”.
He painted the picture: Kelly at No.54, Stuart at No.62, on the same street, meeting up twice a week to push a squeaky-wheeled trolley up a steep hill just to play at the local youth club. Fast forward a few years, they sell over 16 million records world-wide, and end up opening for U2 on the Elevation Tour. Kelly added… and I got told off by (now) Sir Roger Daltrey. He apparently yelled, ‘Turn that f***ing amp down!’*
Mr and Mrs Smith followed. But not before Kelly asked the audience, “is anyone staying in a hotel tonight? Is anyone having an affair?” The audience laughed. He added, “it’s all good fun until you lose a couple of houses”.
Another acoustic gem came with the intro to Indian Summer. The lighting was breathtaking, a golden halo framing Kelly as he sang “Fly Like an Eagle”, turning the stage into something celestial. Then came the messy bit, The Bartender and the Thief set everyone off. The arena erupted, people jumping in the seating areas, vases (2 pinter’s) of beer sloshing everywhere, fists pumping as giant balloons were released and bounced over heads. Joyous moment for me, was when that already blistering lead solo derailed itself straight into Motörhead’s Ace of Spades. I couldn’t stop smiling. It was chaos in the gods. Heaven.
The lights dropped, the band slipped away, leaving the crowd still roaring. Then came the adult version of peekaboo (the encore) as thousands stomped and cheered for their return.
Hoping for my favourite, Don’t Let the Devil Take Another Day, I waited with anticipation, but instead, they returned with an equal treasure: 100MPH. I bloody adore the sentiment behind this song; it’s a reminder to live fully in the present and never take a single moment for granted. Kelly’s vocals soared, raw and yet tender, wrapping the arena in emotion, while the lyrics glowed on the screens behind him. “Do you see the beauty of a rose, I doubt it…” the lyrics carry the weight of everything the song stands for, urgency, passion, and the fleeting beauty of now.
All we have is now.
The gorgeous Traffic and C’est la Vie set the mood for the final song. Yes, you guessed it… their first number one hit, Dakota. Kelly teased everyone with the intro, slow and sultry, letting every note drip like honey. Then came that line, “You made me feel like the one” pure musical foreplay, building tension with every strum. A song about summer nights, stolen kisses, and first drinks, tangled with the ache of what slipped away, never sounded so intoxicating. Kelly’s voice was flawless. The band kicked in, everyone went crazy. Class A seduction set to a soundtrack.
The lights dimmed, the band took a bow and slipped off stage. Kelly shouted “Manchester, you’ve been amazing. Until next time—look after each other.” Couldn’t sum it up better myself.
Meanwhile, balloons were still bouncing around the crowd like little rubber rebels refusing to go home. As I made my way out, a lady next to me (in her strongest Yorkshire accent) ooooh Kelly Jones, he’s as bloody gorgeous now as he were twenty year ago”. Made me smile. I nodded, of course.
What makes Stereophonics special is their ability to grow without losing their essence. Over the years, they’ve experimented with sounds, embraced maturity in their lyrics, and yet maintained that raw emotional core. Their music has that ‘lived-in’ feel. Songs that speak to real experiences, whether it’s love, loss, or the simple beauty of ordinary life.
If you’ve ever seen them live, you’ll know it’s so much more than a concert. For me, what truly stands out is their unwavering consistency. They deliver every single time. With nearly three decades in the industry, they’ve made 12 studio albums, and sold countless records world-wide and yet, they remain grounded, still writing songs that resonate with everyday people. In an era of fleeting trends, their staying power is proof that authenticity never really goes out of style.
Unforgettable melodies that are painted like ‘Pictures of ‘a thousand trees’, these talented Welsh storytellers, mood-setters, and memory-makers definitely deserve a permanent spot on your playlist. These ‘local boys’ in the photographs, have spent nearly 30 years on mine.
You can catch the next leg of their tour as they play Liverpool M&S Bank arena and London’s 02.
Words and Photos by Shavorne Wilbraham
