2024-2025

The Madness frontman provides vocals on a new single by the indie beat punk band called Zombie Nation. He also appears in the video, which sees him and the band fighting off zombies and barricading themselves in a pub, much like Shaun of the Dead. After the band perform a Nutty Train in honour of their guest vocalist, Suggs himself turns into one of the undead.

Suggs and Mike appear on the popular BBC 6 Music show to talk about the new album and upcoming summer activity.

Suggs is a special guest on the Saturday morning cookery show. After having an English breakfast cooked for him, he talks about the band’s music and the upcoming Summer tour.

Suggs and Mike appear at the end of Ken Bruce’s show as the DJ marks his one-year anniversary as a presenter on the station. The duo perform a stripped back version of It Must be Love, with the vocals changed to “It must be Ken” to fit in with the celebrations. The show is broadcast from a pub, with other guests including Sharleen Spiteri, Vanessa Feltz and Basil Brush.

A special edition of the 2009 album is released, with additional tracks Bittersweet and The Roadette Song, plus a 24-page booklet with exclusive new liner notes from Suggs, Lee, Chris, Woody and Mike, and a poem by Carl.

The band appear on the prime time ITV chat show, playing Round and Round to close the programme. Recorded earlier in the week, the performance sees Mez deputising for Woody on drums.

For this year’s Record Day, a special edition of the 1980 classic is made available, with its six tracks including the original 7” mix and a previously unreleased instrumental specially mixed by Clive Langer. Side A: Embarrassment / Not Home Today / E.R.N.I.E. Side B: Embarrassment (Instrumental) / Crying Shame / You Said.

Suggs is a guest on episode 171 of the American podcast, during which he explores the band’s journey, revisits stories from their past and discusses the recent No1 album. Listen to it here.

Suggs joins DJ Gary Davies in the studio for the weekly trip down memory lane. Acting as co-host during the two-hour show, he introduces some of his 80s favourites, answers listeners’ questions and discusses the No1 album and upcoming tour. Wings of a Dove and Michael Caine both got an airing, after which Suggs reveals how they were recorded. After playing a live version of Keep Moving from 1985, Gary asks the singer how his voice has changed, with Suggs joking that it isn’t really any different because he didn’t have much of one to lose. Among the chosen 80s tracks are numbers by Echo and the Bunnymen and Aswad, with Suggs reminiscing about working together before quipping: “What a mix of haircuts that was.”

Lee fronts another of his spin-off bands, who play after a screening of his rocku-docu-mockumentary One Man’s Madness and a Q&A. With Lee his usual cheeky and chatty self, the running order is a mix of covers, with David Bowie, The Kinks, Prince Buster and Ian Dury all in the mix. Setlist: My Old Man / Tired of Waiting / Clever Trevor / Kooks / Mother’s Little Helper / Ghost Dance / Mr Soft / Dead End Street / Lola. Encore: All the Young Dudes / Jean Genie.

Bedders teams up with friend and fellow musician Mark Anthony to launch a new monthly music podcast, broadcast on Shoreditch Radio at 9pm on the first Monday of every month.

Two more albums from the band’s back catalogue get a makeover treatment as two-disc expanded editions. Oui Oui… contains 11 bonus tracks which weren’t on the original CD, but did feature on the deluxe version released in 2013. Liner notes from Mike, Chris and Woody are also included. The new version of Can’t Touch Us Now includes 14 mostly demo tracks not on the original release, as well as interviews with Suggs, Mike, Chris and Lee.

Rescheduled from January, Madness play two shows on the same day as a warm-up for their impending US tour, performing a matinee at 5pm and a later show at the same intimate venue. The 16-track setlist includes three Dangermen songs as well as a trio from the latest album. Mez deputises on drums, with Woody not expected to join the band on the upcoming US tour.

One Step Beyond / Embarrassment / The Prince / C’est La Vie / My Girl / Girl Why Don’t You? / Taller Than You Are / If I Go Mad / Chase the Devil / Run for Your Life / House of Fun / Baggy Trousers / Our House / It Must Be Love. ENCORE: Madness / Night Boat to Cairo

Madness head to the west coast for their first date on US soil since April 2012, kicking off the C’est La Vie in America Tour in Washington State. Tonight’s gig sees a mix of old classics, new tracks and Dangermen numbers, with Chris resurrecting his Showtime party piece with a rendition of AC/DC’s Highway to Hell.

One Step Beyond / Embarrassment / The Prince / NW5 / My Girl / Taller Than You Are / The Sun and the Rain / C’est La Vie / Shut Up / Girl Why Don’t You? / If I Go Mad / Bed and Breakfast Man / Run for Your Life / Chase the Devil / Wings of a Dove / Mr Apples / House of Fun / Baggy Trousers / Our House / It Must Be Love. ENCORE: Madness / Night Boat to Cairo

“If you ever thought your middle-aged years weren’t meant for raising hell, just say to hell with the ageists and get suited and booted for a Madness show. The North London band might have been feeling their age, too, when they performed in Oakland — they joked about having come to America on the Mayflower for their first tour in 1979. But the vibes at the Fox Theater were youthful and immaculate, bringing everyone to their feet for the rocksteady beats, from the middle-aged fans to those barely out of their teens. It’s an impressive feat that the British ska revivalists that formed Madness in the late ​‘70s have retained six of its original seven members. The fanbase has remained just as devoted, not just in sound but in style. The two-tone genre (a heady blend of Jamaican ska and reggae with the punk and new wave sounds of the ​‘70s and ​‘80s, perfect for all-nighters on the dance floor) brought out the nattily dressed — slim-cut suits and pencil skirts, and the ​‘60s mod fashions made popular by the rude boys and rude girls of the scene that still persists in the Bay Area and beyond. Coming out to the instrumental theme song from Star Wars, the band (impeccably tailored, natch) launched straightaway into their early UK chart-topper ​One Step Beyond, a cover of Jamaican ska singer Prince Buster’s mostly instrumental song. An upbeat ska bop ladled generously with signature sax, it practically commanded everyone to get up and dance. From there, it was a mix of old and new, a herculean task of shoehorning a bit of everything from their 13 albums of horn-laden stompers, slow-and-steady, laid-back beats, and a few crossover pop and rock hits. Their biggest hit, 1982’s ​Our House (which was also the name of their early-aughts West End musical), with its whimsically upbeat hooks, has silly lyrics to match its party-time mood: ​“Our house, it has a crowd/ There’s always something happening/ And it’s usually quite loud.” They dipped into fan favorites, like the coming-of-age tune ​House of Fun, with its percolating bass and funhouse menace (“Welcome to the lion’s den/ Temptation’s on its way…”) and the whirligig, bouncy beats of ​Baggy Trousers, for mischievous kids who miss the freedom of youth (“Oh what fun we had/ But at the time it seemed so bad…”). They also threw in tracks from last year’s C’est La Vie, which doesn’t break any new ground musically, but does offer a tuneful, bittersweet overview of present-day perils, with its insta-celebs and political upheavals, as in the title track’s lyrics, which warn of ​“Justice, a toothless old hag/ It’s every man now on his own/ It’s all for one, you’d better run.” Given the crowd’s jubilant response for the band’s return to the U.S. (a tour was repeatedly postponed during the Covid years), there was an air of thoughtful gratitude from the band. As the crowd chanted for more, charismatic frontman Suggs mused aloud, ​“It’s not just music.” He’s right. It must be love. The opening band, Save Ferris (a name taken from the ​‘80s movie, Ferris Bueller’s Day Off), played the hits that epitomized their third-wave ska sound, a genre which included their Orange County neighbors, No Doubt. More pop-punk and SoCal in sound and style, they were best known for their ​‘90s cover of Dexys Midnight Runners’ hit, ​Come On Eileen, and maybe for their cameo in the ​‘90s movie, 10 Things I Hate About You. An airy, mindless hit. An ​“Oh, I remember that song,” from distracted fans mired in Madness.
Robin Lapid, newhavenindependent.org

Before tonight’s gig, the band appear at Amoeba Records for an afternoon of signing.

After the fourth gig of the US tour, Madness are joined backstage by all four original members of No Doubt, who have previously cited the band as a huge inspiration. Also among the guests is American singer and TV personality Blake Shelton.

“Twelve years! You wouldn’t believe what it took to get here,” Madness frontman Suggs McPherson told the crowd at Hammerstein Ballroom on Thursday, who were very glad the London band were finally playing NYC again. They were supposed to play in 2020 but the pandemic obviously delayed that, and Suggs also noted that in some ways it was for the best, as during those four years, Madness released their terrific thirteenth album Theatre of the Absurd Presents C’est la Vie (which went to #1 in the UK), not to mention a band memoir and accompanying three-part documentary. It all worked out and everyone onstage and off had a very good time. “I can’t believe we’re all still alive,” Suggs joked later in the show, but it is pretty remarkable that basically the same lineup that gave us their 1979 debut One Step Beyond… was on stage here 45 years later, including keyboardist Mike Barson, bassist Mark Bedford, guitarist Chris Foreman, and saxophonist/percussionist Lee Thompson, who seemed to be the keeper of good vibes (and at one point poured shots and passed them to the crowd). Drummer Danny Woodgate, who is still in the band, was not on this tour. They were augmented by a horn section and percussionist, and I thought they sounded fantastic. Even with songs from the new album, which the crowd around me seemed to know, it was a hitfest on Thursday night. And Madness have a lot of hits. Our House may have been their only US Top 40 single, but they were one of the biggest bands in England in the 1980s and most of their biggest songs (which got MTV and alt-rock radio play here) were performed at Hammerstein, much to the delight of everyone in the room, who were dancing all night. The band walked out to a mash up of The Thunderbirds/Star Wars theme and Suggs greeted the cheering crowd with “Hey You!,” as they launched into One Step Beyond; the night flew from there. The first part of their set was heavy on early classics, including Embarrassment, My Girl, The Sun and the Rain, Shut Up, Bed and Breakfast Man and Wings of a Dove. The band took a break after that, but Chris Foreman stayed onstage to perform a karaoke cover of AC/DC’s Highway to Hell which was random but fun. The band then came back to play four of their biggest songs: House of Fun, Baggy Trousers, Our House and It Must Be Love. Their encore was introduced by a bagpipe player, and then they came back for two more songs — Madness and Night Boat to Cairo — and then said goodbye to the crowd while Always Look on the Bright Side of Life from Monty Python’s The Life of Brian played over the soundsystem. The crowd was in such a good sing-a-long mood, they started singing along to that too, and started dancing in a circle together. A surreal close to a wonderful night. Midway through the show, Suggs’ referenced The Life of Brian‘s joke about “What have the Romans ever given us?” in reference to ska legend Prince Buster’s influence on Madness. Suggs noted Buster gave them their name, inspired their debut single The Prince, and that their second single was a Prince Buster cover. (Madness is another cover.) It was all an intro to them doing a Prince Buster tribute, offering up another cover, Girl Why Don’t You? I was near the front for the first half of the show, which was great, but when I moved to the back after Bed and Breakfast Man I realized that was where the real party was. People had room to dance and were using it, and even the front lobby where the merch table was had loads of people shaking a leg. Watching the crowd lose it to House of Fun may have been the highlight of the night. People came dressed up. There were of course lots of Fred Perry shirts and porkpie hats on display, but there was also a large group of fans who showed up in red Madness fezes. With the Rangers in the NHL playoffs playing next door at Madison Square Garden, and fans in hockey jerseys everywhere, the corner of 8th Ave and 34th St was an interesting fashion show to say the least. The night was opened by Fishbone who I thought were also terrific despite “opening act sound.” There has been some inter-band drama lately, but this version of the lineup, featuring OG members singer/saxophonist Angelo Moore and keyboardist singer Chris Dowd, were all joy in their short set. Sometimes you get a metal Fishbone set, but they knew who they were opening for and their short set featured some of their most-loved songs, including Party at Ground Zero, Ma and Pa, Cholly, Everyday Sunshine and a cover of the Commodores’ Brick House. Angelo is still a dynamo frontman, jumping around, doing cartwheels, playing the theremin like a scratch DJ, and generally pumping up the crowd. He also addressed the Trump verdict, which had just come in a couple hours earlier, leading the crowd in a chant of “GUILTY! GUILTY! GUILTY” before dedicating Ugly to to him. (Madness also referenced the verdict later in the night.) When they were leaving the stage after their set, Angelo went back and grabbed the mic and told the crowd how excited he was to open for a band that were so influential to him, and he could be seen dancing and singing along to Madness’ set all night from the side balcony.
brooklynvegan.com

The frontman presents a video tour of Camden, during which he stops off at landmarks including The Dublin Castle as he relates the early history of Madness. The micro-doc is for the Netherlands’ Top 2000 A GoGo YouTube channel and runs for just over six minutes.

Back on home turf, and after a couple of weeks off, the band reconvene for the summer festival circuit, kicking off in the sunshine on the south coast. The running order is pretty much the standard Greatest Hits festival set, with four tracks from the latest album inserted and Mr Apples dropped from the performance after someone in the crowd requires medical assistance.

One Step Beyond / Embarrassment / The Prince / C’est La Vie / NW5 / My Girl / The Sun and the Rain / Hour of Need / Wings of a Dove / Lovestruck / Run for Your Life / Bed and Breakfast Man / Shut up / Round We Go / Mr Apples / House of Fun / Baggy Trousers / Our House / It Must be Love / ENCORE: Madness / Night Boat to Cairo

“Oh, what fun we had,” indeed. Walking down Margate seafront you could tell cockney legends Madness were in town thanks to the red fez-wearing crowds. The iconic ska band headlined the Dreamland stage on Friday June 14 as part of this year’s Margate Summer Series – as well as their own C’est La Vie tour. They are off the back of a No.1 studio album in the UK with Theatre of the Absurd Presents C’est La Vie, knocking the likes of Drake out of the way in November. But before they sauntered onto the stage, rock band The Lightning Seeds warmed up the boisterous crowd who were more than ready to belt out their timely rendition of Three Lions. The bars which surround the main stage were packed between the performances but the queues moved quickly. Suggs and co, who had their heyday in the 70s and 80s, started their performance with what else but One Step Beyond followed by Embarrassment and The Prince. In between songs Suggs performed as a stand-up comedian and the crowd lapped up every second of it. Their newer songs such as Run For Your Life and C’est La Vie were featured as well as NW5 and The Sun and the Rain, released in 2007. Like any ‘older’ band there is a sense that the crowd, who were mainly in their 50s, wanted the hits they knew every word to and the more recent songs did fall a bit flat. This is not because they weren’t good or performed well, but rather that most of those in attendance simply didn’t know them. Around halfway through the performance, there was a pause – just after Run For Your Life – due to someone being ill. But after the break Madness came roaring back with Bed and Breakfast Man and Shut Up before heading into the encore of their truly massive hits. They left the best till last, with the lights now beaming in the dark, and finished off the entertaining night with House of Fun, Baggy Trousers, Our House, It Must Be Love and Madness. Before heading off the stage Suggs played with the crowd, asking if they were still here, before sending the audience into a frenzy with my personal favourite – and what seemed like the song of the night – Night Boat to Cairo.
Joe Crossley, Kent Online

Madness, madness, they call it madness. And it certainly was on the Hoe as NW5’s greatest export created the mother of all knees-ups. From the front barriers to the beer tents people were skanking and stomping as Madness turned Plymouth Summer Sessions into a Saturday night party. Arriving on stage to the Thunderbirds theme, it was lift-off as One Step Beyond got the jamboree jumping, and it didn’t let up. Dressed in their sharp suits and hats, Madness were as much natty boys as nutty boys, and talking of hats, the audience was awash with them: fezzes, trilbies, and pork pies. There were also lots of DMs, Harringtons and black-and-white checks. Plymouth had really made the effort. It was worth it. Jaunty renditions of Embarrassment, The Prince, new track C’est La Vie, NW5, My Girl, and The Sun and the Moon tested the stamina of a jubilant crowd. They were up to it though. Suggs, always a wit, had even done his homework on the city. “Just got back from America,” he said. “They wouldn’t be there without you lot.” He knew all about the Plymouth Brethren too. Playing for about 90 minutes, Madness performed 22 songs, with highlights including the funky new number Run For Your Life, and first-album favourite Bed and Breakfast Man. “It was going to be a single,” said Suggs. “I don’t know why it wasn’t, perhaps there is still time.” Then things took a truly nutty turn as Chris Foreman took over vocals for a mind-boggling cover of AC/DC’s Highway to Hell. Everyone loved it. With Lee Thompson blowing up a storm all evening on the sax, Chris then yelled: “It’s showtime!” Cue a rousing finale with plenty of singing along to House of Fun, Baggy Trousers, Our House and It Must Be Love. An encore of Madness and Night Boat to Cairo was so good even the rain, which had stayed away all evening, came out to see it. “Is this cultural appropriation?” asked Suggs. “Or just a tea towel on my head?” What it was, was great fun. And it had all started five hours earlier with a fine set from Hardwicke Circus, not easy for the boys with many people still coming into the Hoe arena. Lightning Seeds were great too, with the audience in fine voice for Three Lions, singing along 24-hours before England kicked off in the Euros. The smart and catchy singles Lucky You, Life of Riley and Pure went down a treat. Marvellous. There’s another one. The Zutons performed a tight set too, all the better when Abi Harding was blowing her sax. But the 50-minute performance was, perhaps, a little too long. When Dave McCabe sang the opening line of Don’t Ever Think (Too Much): “I’m standing on the edge of a cliff…” Some wag shouted: “Jump.” There was a feeling that perhaps Lighting Seeds should have gone on after the Zutons, with the “football’s coming home” mass chorus having built momentum nicely before the main attraction. But the Zutons sure had their moment when Valerie brought back the sing-a-long vibe. People love to join in, and those three bands each gave them a chance, which they took like a striker gobbling up a loose ball. Special mention, too, to the woman who signs the lyrics during the performances. Not an easy job and performed with energy, swiftness and a smile on her face. She wasn’t the only one smiling at the end of a great third night at the Summer Sessions.
William Telford, Plymouth Herald

“Well if this is madness then I know I’m filled with gladness”. Sums it up really. The lyric from their eponymous first-album song may not have arrived until the encore but it was present throughout the evening. Madness have always been a reminder to not take life, or ourselves, too seriously. They can bring sunshine to the greyest of days, and did so in Guildhall Square, treating an exuberant crowd to most of their hits and plenty of north London banter. Welcomed on stage to the Thunderbirds theme tune, accompanied by typically comic visuals, the band romped through three classics before saying hello. One Step Beyond and The Prince came either side of Embarrassment, during which “I’m feeling twice as older” felt like a heartfelt chant from both the band and, let’s say, more senior members of the audience. Actually, doing the maths I realised that I was nearly ‘three times as older’ as when I first saw them at the Gaumont, and I wasn’t the only ex-nutty boy creaking where once I bounced. Having said that, the crowd included loads of younger folk and, surprisingly according to lead singer Suggs, lots of women, and they seemed to be enjoying the newer material. C’est La Vie, the title track of their latest album was a pleasing hark back to their earlier Ska roots. A personal favourite, the bittersweet 2007 song NW5 – “I would give you everything, for just that smile you bring, for just that song to sing” – seemed to be particularly well received. This and the ensuing My Girl reminded me that the band have always been able to deliver pathos alongside the cheeky chappie fun. Much of the stage humour was provided by Suggs and saxophonist, Lee Thompson, whose gentle sparring with the audience and each other seemed genuine and certainly not forty-five years old. Guitarist Chris Foreman, as well as keeping us informed of the England v Serbia football score, added to the chaos later by offering a karaoke version of Living on a Prayer while the band disappeared for ‘a cup of tea’. After this interlude the 80’s hits just kept coming. “There’s always something happening and it’s usually quite loud.” Our House had the whole crowd going wild, and the set came to a riotous, anthemic end with I Must Be Love. “I knew that it’s you I need to take the blues away” sums up perfectly how most fans feel about Madness. Suggs, Barso, Kix, Chrissy Boy, Woody and Bedders may have funny nicknames and cheeky grins but they are also excellent musicians and every song was delivered with class and quality. Back on stage for the encore, Madness and the classic Night Boat to Cairo allowed the Nutty Boys to finish with a flourish, reminding everyone of their Ska roots, eccentric pop songs (“It’s just gone noon, half past monsoon”) and outstanding musical ability. “Oh what fun we had”. Trousers may not be as baggy as they were back in the day but the feel good factor remained the same. As the band left the stage the PA pumped out Always Look on the Bright Side of Life and the crowd merrily dispersed singing along to the chorus.
Nick Mabey, in-common.co.uk

Madness put out an extended double-disc edition of their No1 album, with the 32 tracks including five previously unreleased numbers: I’d Do Anything (If I Could), which is credited to Chris, along with No Reason (McPherson), Hello Sun (Woodgate), Long Goodbye (Woodgate) and old favourite Culture Vulture (Barson/Thompson). Sung by Lee, the latter has been around in various guises since the 1990s, with this version more like the one performed at the 2018 House of Fun weekender than the one revealed at Madstock in 1996 that didn’t make the cut for Wonderful. Available in the usual variety of formats, the second disc also includes six live tracks from the 2023 Christmas tour: Theatre of the Absurd, C’est La Vie, Hour of Need, Round We Go, Run For Your Life, In My Street and Friday Night, Saturday Morning.

The Thunderbirds theme tune announced the arrival of Madness to the stage of Edinburgh Castle, a sure sign that the crowds would be treated to a fun-filled evening from these cheeky chappies with their slick suits, bucket hats and that unmistakeable North London banter. The set opened with One Step Beyond with its “heavy, heavy monster sound”, an early hit reminiscent of their late ‘70s ska revival days, with Embarrassment and The Prince following in quick succession. The C’est la Vie tour of the UK comes on the back of Madness gaining their first ever UK number 1 studio album, Theatre of the Absurd Presents C’est la Vie, seeing off Taylor Swift’s 1989 from that top position, as lead singer, Suggs, happily told fans. The band performed the title track C’est la Vie, a song exploring the themes and absurdity of life along with Hour of Need, Run For Your Life and Round We Go from the same album. Suggs, sporting sunglasses and trademark suit, interjected between songs with humorous wit, suggesting that some of the audience may have inadvertently booked for the Spice Girls Reunion and Madness were not half as tough as them! The music was a good blend of more up to date and older numbers. There was something for everyone in an audience of mixed ages and young and old alike donning red fez hats; the perfect opportunity too to try out their ska dance moves from their younger days or just to join in with the beat. My Girl, an all-time favourite, and Wings of A Dove and Lovestruck hit a nostalgic note, sounding every bit as good now as they once did. There are tracks along the way such as Bed and Breakfast Man that the band felt should have been a single, but within their long career not far short of 50 years, there have been so many hits. House of Fun, their first UK No 1 single, had the crowd rise to their feet to join in with those infectious dance moves, as did Baggy Trousers and Our House, a real throwback to yesteryear. It Must Be Love, a cover by Madness of the 1971 Labi Siffre hit, raised the energy levels. “It must be love, love, love, nothing more, nothing less, love is the best”, the lyrics of a song that the crowd seemed to know so well and which saw so many couples tenderly embrace. As Madness left the stage, a lone piper appeared playing Scotland the Brave and Flower of Scotland. This was a nostalgic moment against the impressive setting of Edinburgh Castle and a fantastic lead up to the encore of the hits Madness and Night Boat to Cairo. As their career has progressed, Madness have moved closer towards conventional pop music than their ska roots, but Suggs, Barso, Kix, Chrissy Boy, Woody and Bedders, with their eclectic style and fun sense of humour, are still drawing in the fans, gaining new ones and leaving a crowd asking for more. On a parting note and what you might expect of Madness, almost all left singing to Always Look on the Bright Side of Life.
Catherine Buchan, themodernrecord.co, 4 stars

Camden Town’s Madness braved sunny Scarbados as they headlined the Open Air Theatre as part of their summer tour. After a reel countdown, charismatic frontman Suggs shouted the instantly recognisable “Hey you! Don’t watch that, watch this” introduction of One Step Beyond. With its iconic saxophone and walking basslines, the instrumental made for a perfect opener. Just days after the Euros semi-final, they of course found the time to get everyone chanting “it’s coming home.” This was followed by The Prince, the band’s homage to ska legend Buster Prince and my favourite Madness song. Next, a sombre piano riff signalled the fan favourite NW5, transforming into a heartfelt chorus which the crowd sang along to. They then played C’est la Vie, their recent single which inspired the tour’s name. Between songs Suggs apologised to anyone at the concert who thought they were attending the Spice Girls Reunion, a joke he made the first time I saw Madness in 2018. He then began reminiscing about the band’s origins in 1976 in keyboard player Mike Barson’s bedroom, before playing My Girl. The aptness of their song The Sun and the Rain was not lost on the crowd, as their fezzes were paired with ponchos. Next up was Wings Of A Dove, and although we were seated in the stalls the song’s infectious feel good energy had everyone up, joining in with Suggs’ classic staccato dance moves. This was followed by Bed and Breakfast Man, another song I really enjoyed. If the song itself didn’t get people dancing, the huge disco ball on the screen certainly did. Despite promoting their new material, Madness still found the time for old hits such as Our House and Lamppost. A highlight of the concert was the stimulating visuals. Run For Your Life, a gloomy take on modern issues, featured a montage of modern pop culture. Mr. Apples was accompanied by a video showcasing saxophonist Thommo’s (not so great) acting skills. They continued with their classic hits, playing House of Fun with hypnotic visuals to compliment the humour and euphemisms of the song. Suggs lovingly addressed his fans once again, mentioning how nice it was to see so many young people. The band then disappeared, leaving only guitarist Chris Foreman on stage who launched into a completely unexpected cover of AC/DC’s Highway to Hell. Clad in a royal mantle and pork pie hat, he looked like true ska royalty. Once Foreman was re-joined by his bandmates, they played Baggy Trousers, the nostalgic classic about Suggs’ schoolboy days. Looking down into the crowd all I could see was a sea of fezzes jumping up and down. They then concluded their main set with the sentimental It Must Be Love. After a brief interlude of bagpipe playing, Suggs returned, saying “we’ve got one more thing to say to you.” They kicked off their encore with Madness, a song originally by their hero Prince Buster but one that has come to encapsulate the band perfectly. Saving Night Boat To Cairo until last, Madness concluded their set on a high note. As usual, their exit music was Always Look on the Bright Side of Life from Monty Python. One thing I loved about the concert was the band’s unique style and stage presence that has remained through the decades. They certainly know how to entertain; not only are they excellent musicians but they also had me laughing throughout the set. Their music is timeless – decades after their formation their hits are still adored and their new material has that distinct Madness sound. Overall, the great atmosphere and banter between the band made the set. To use Suggs’ own term, they really brought the ska to Ska…borough.
Lauren Wilson, nouse.co.uk

You could see that Madness were relishing bringing their own uniquely British brand of ska/ pop music to rural North Wales when they performed at Llangollen’s International Musical Eisteddfod on July 13. This was The Nutty Boys’ first appearance in the region since their much-remembered concert on Rhyl promenade in 2015. And they managed to bring that same thrilling atmosphere, which captivated that seafront audience, to Saturday’s concert. he Camden crew launched into their set with their hit One Step Beyond. Lead singer Suggs spoke of his delight at being back in Wales, revealing his connection with the country as a youngster while staying with his relatives. Addressing the packed crowd he said: “Isn’t it nice to be out and about. We’re all shapes and sizes but we’re still alive, and it’s nice to see some young people here!” The band’s followers dressed in pork pie hats and Fezzes roared with excitement as the band went on to remind us of their amazing collection of songs which include 15 top 10 UK singles like Embarrassment, The Prince and My Girl, along with tracks from the band’s recent number one album C’est La Vie and Run For Your Life. The football terrace chants continued during a fantastic performance by the group of its uplifting spiritual anthem Wings of a Dove which raised the roof of the venue. While most of the band exited the stage concertgoers earlier entertained throughout the show by the wonderful slapstick antics of saxophonist Lee Thompson were treated to more fun in the shape of an enthusiastic version of ACDC’s Highway to Hell by guitarist Chris Foreman which the crowd lapped up. Normal service, however, was soon resumed as the rest of the boys returned for home straight of their biggest hits as part of their 90-minute set. The surreal House of Fun had people all around me bursting into weird and wonderful dance moves while Baggy Trousers saw gig-goers pogoing in unison following some sage advice from frontman Suggs to a member of this cross-generational audience, Bella, to work hard at your education. Our House brought joy to everyone’s faces while arguably the group’s biggest hit It Must Be Love saw the audience take part in a moving, majestic singalong. Calls for were duly answered as the band performed an epic encore of their signature tune Madness and Night Boat to Cairo – clearly a moment the assembled army of fez-wearing fans had been waiting for and what will be remembered as an awesome climax to an unforgettable evening of live music.
Terry Canty, Denbighshire Free Press

Camden Town’s Nutty Boys brought to a close three nights of excellent music and which saw the Big Top packed with fez wearing fans. With the opening of One Step Beyond the crowd instantly knew that they were in for a real treat. Showing that they are about large sounds and big songs, front man Suggs delivered a live set that offered hit after hit such as Embarrassment and the British classic My Girl which had the crowd jumping and singing along in joyful exuberance. The Big Top was undoubtedly full of fun and Madness were as ever, fantastic live. NW5 was emotionally impactful and excellently performed, as was the lesser known songs such as The Sun And The Rain and Hour Of Need. A further highlight was Wings Of A Dove before they reached a searingly strong end to their main set, a four song run that started with Baggy Trousers, House Of Fun, Our House and set closer It Must Be Love that had the crowd belting the words right back at them. For the encore there was the anthemic Madness and the ska infused frenzy of Night Boat To Cairo which served to show that a Madness gig is fun from the off proving that they are still as nutty live.
Kevin Cooper, Derbyshire Live

With just the unmistakeable first note of gig opener, One Step Beyond, the crowd were instantly dancing and partying the night away. To see thousands of people just burst into dancing, with limbs flying everywhere in all manner of dance move, it couldn’t help but bring a smile to your face. The party continued as they performed Embarrassment, Mr Apples and Shut Up. Lead singer Graham ‘Suggs’ McPherson controlled the stage, addressing the crowd in only the way he can. From giving out life advice about not falling in love with the first lamppost, a great way to introduce Lovestruck, and saying: “It’s so nice to be back here! Cardiff! Yes! People, music, friendship”. The rest of the band also put on a great show with Lee Thompson proving his incredible skills on the saxophone song after song after song. The party ended with a bang as Madness performed their most well-known hits, House of Fun, Our House, It Must Be Love and Night Boat to Cairo. The adoring fans sang It Must Be Love back to silent stage, they had cut the music to let the crowd have their moment, to which Suggs said: “Yes! You know that one!” Overall Madness brought a brilliant, fun and whacky party to Cardiff Castle which was the perfect setting for such a gig. They are welcome back to this House of Fun, anytime.
Steph Colderick, Wales Online

I’ll get this out here: I don’t think I have ever seen so many fezes in my life. You would have to go back in time to see such a sight, owing greatly again to Madness’s iconic 1979 music video Night Boat to Cairo. The merchandise stand was popping all evening long, with rows upon rows of people gathered to get a look at some of the souvenirs on display for purchase. But where the set lengths were compact and closely abided by, Madness graced the stage and performed a near-90 minute set. With all of the modern tricks applied, it became instantly clear how Madness had been able to establish such a legacy. Excerpts from films and television, their own music videos as well as fancy textual graphics provided an extraordinary backdrop for the group of bandmates. With witty banter interspersed between most songs, if I closed my eyes and only heard the banter from its members, I could almost perfectly imagine a buzzing workers’ social club. While a fair few of the tracks admittedly went over my head, it plateaued in the final half-hour of the set – a perfect storm of the outfit’s greatest hits, song after song. The sun set on the Abbey as we all stood in the ruin’s shadow, as Madness performed like only they could. Throughout the day, I couldn’t help but notice the reach of the spectacle. Oldtimers that were surely around for the advent of the group in the 1970s were still going strong, decked out in head-to-toe Madness merch! Suited blokes congregated together and went hard with pints in hand as they turned back the clock for one more night. Young children sat on their parents’ shoulders, while others mimicked what they were seeing with inflatable guitars and saxophones. One row in front of me, a blonde-haired girl that had to be my age encouraged the dancing of a woman that had to be in her 60s. Her male partner was joined by the elder’s partner for some cheeky conversation. It stood out to me as what this was all about: Music is a spectacle to be enjoyed by the masses, regardless of background, of wealth and of ethnicity. If it sounds good, it’s really good. If it’s really good, it’ll feel good – but a large part of what drives people to gigs like these is the community we find ourselves embedded within. In spite of age, gender, race and class, everybody came together in a humble showing of unity, all for a shared support and admiration for the bands who played. In these controversial times of war and acts of violence, I think it’s always important to remember times such as these. Madness are still that band.
Daniel Tomlinson, leedsliving.co.uk

Adorned in fez hats, Madness fans gathered under a perfect Sunday summer sun in the middle of Blackheath Common. Nostalgia swept through the predominantly baby-boomer crowd as Radio DJ David Rodigan prepared ska junkies for an afternoon of olden goldies, as he reminisced over the glory decades of the 70s and 80s that changed the course of music forever. His legendary playlist included iconic ska and reggae tunes from the likes of The Specials and Bob Marley, which could be enjoyed by VIPs from the comfort of the sofa lounge. The evening was still young when The Lightning Seeds graced the stage with their single Marvellous from their 1994 album Jollification. Boasting seven studio albums under their belt, the setlist appeared to be a chronological timeline of their musical career that has spanned 40 years. Lead vocalist and songwriter, Ian Broudie, closed their one-hour set with a song he wrote for his son, The Life of Riley, which the crowd reacted fondly due to its association with the BBC football programme Match of the Day during the 90s. Zuton Fever was not just the opening song for the Zutons, it was the theme of Uptown Festival. With only a six-track setlist, the tsunami of people grew further in anticipation of the band’s song Valerie, which achieved worldwide critical acclaim as a result of producer Mark Ronson’s cover album, Version, featuring the vocals of Amy Winehouse. The reinvention of the song that transitioned from an indie rock anthem into a Motown and retro Stax song became iconic, ruling the charts of 2007. The night was fast approaching and the festival was at its maximum capacity before the esteemed seven-piece ska rocksteady band Madness opened their set with their first song and studio album One Step Beyond, released in 1979. A touching moment arose as lead guitarist and vocalist Chris Foreman introduced their former landlady, who they owed all their success to, having tolerated their noise over their formative years when the band started in their bedroom in Camden Town. The eclectic pop band kept their biggest hits for the end, including iconic love song It Must Be Love, Baggy Trousers and House of Fun. The band proved themselves to be true musicians and artists, having brought love and joy to millions of fans across the world. The entire day of entertainment had to come to an end – however, the night was still young, with a lot of flyers for afterparties.
Nina Doroushi, theupcoming.co.uk

You know a band are pretty special when, 45 years on from their first single, they are still selling out venues the world over, recruiting new fans who weren’t even a thought when their mums and dads donned their first pair of Dr Martens. In the annals of pop music history, few groups have demonstrated the enduring appeal and cultural resonance of Madness. Yes, many of their members may be grandads now and could easily get by just churning through their plethora of hits – they spent a total of 214 weeks in the UK singles chart from 1980-86 – but there’s still an energy to keep producing truly great music. Don’t get me wrong, the majority of the sell-out crowd at Belfast’s Custom House Square on Friday night came for the classics, and the tempo was set early on as Suggs and co got off to a flyer, belting through One Step Beyond, Embarrassment and The Prince. However, it wasn’t long before the audience was treated to C’est la Vie and Hour of Need, both culled from their 2023 chart-topping album, Theatre of the Absurd Presents C’est la Vie. They were thankfully met with appreciative applause – a tacit acknowledgment of the band’s evolving sound. While Madness have cultivated a reputation for ebullient anthems, their oeuvre reveals a depth often overlooked by casual listeners. Beneath the ska and reggae-inflected rhythms and catchy hooks lie poignant commentaries on racism, war, and familial discord, demonstrating a social consciousness that adds gravitas to their musical levity. I digress, though. This was a warm summer’s night and the temperature was cranked up as the crowd sang along to Wings of a Dove, Lovestruck and Shut Up. Suggs remarked how glad he was to see so many young faces in the crowd, and it was clear that this wasn’t a gig just for those of a certain age. I brought my five-year-old son for his first ever concert and he skanked with joy on my shoulders as hit after hit, including the likes of House of Fun, Baggy Trousers and Our House, ensured that the decibel level crescendoed, the energy palpable and electric. And just when you thought things couldn’t get any better, It Must Be Love filled the air, with a mass sing-a-long that could probably be heard throughout Belfast city centre. Signing off with Night Boat to Cairo, thousands of fezzes and pork pie hats bopped up and down in unison. Madness is a band that brings people of every age, colour and creed together. Some in society may seek to wallow in the misery of hatred, but the Nutty Boys are a shining example of how music can transcend boundaries, celebrating our shared humanity and joy.
Patrick Murphy, The Belfast Telegraph

Chris appears on episode 57 of the podcast to discuss the band’s 45-year career, including musical influences, songwriting, touring, recording, splitting up and getting back together.

The music from the TV series Thunderbirds began to play and the band members of Madness appeared one after the other on the LED wall in the background of the stage, all in the style of the well-known TV series. When the first musicians appeared on stage, the cheers from the fans grew louder. When singer Graham McPherson came on stage in a black suit and sunglasses, the audience went wild and a loud cheer could be heard. What could be more fitting than playing the song One Step Beyond first? One of Madness’s best-known songs. In the background, videos were shown on the large LED wall, which were abstract or sometimes showed the band members. While all the musicians never left their place on stage, Lee Thompson was constantly on the move that evening with his saxophone or trumpet. In his grey trench coat, sunglasses and hat, he often played with the fans in the front rows. He also tried to throw his tambourine onto his microphone stand from a short distance. Unfortunately, this only worked on the second attempt, which pleased him all the more. The boys played almost all the well-known songs one after the other that evening. Like My Girl, House Of Fun and also Our House. Of course, there were also some new songs from the latest album Theatre Of The Absurd Presents Cést La Vie. A special highlight was when Chris Foreman sang the AC/DC hit Highway To Hell in his straw hat. Even if the concert lacked a certain punch, it was a nice evening. The satisfied audience was bid farewell with the Monty Python song Always Look on the Bright Side of Life.
Andreas Klüppelberg, reflectionsofdarkness.com

The former Madness roadie and Suggs’s best friend and best man dies aged 64 after a battle with cancer

With tickets for the Christmas tour now on sale, Suggs begins a round of media activity with an interview on the Chris Evans show. The two of them plug the festive dates, playing in America and Madness’s appearance at Car Fest 2025, where they’ll be headlining on Sunday August 24.

The frontman makes his second radio appearance of the day, joining Gabby Agbonlahor and Jeff Stelling on the breakfast show, where he discusses Chelsea and Madness, including his delight at One Step Beyond being played at Stamford Bridge.

Suggs joins host Nihal Arthanayake for an in-depth conversation on BBC Radio 5 Live. Over the course of an hour, he reveals that he’s given up drink after a long-running battle with alcoholism. He also reveals that Madness will be releasing another Greatest Hits compilation at the end of the year, plus that he’s moved into a new house in Leyton that has a man cave at the bottom of the garden, so he now communicates with wife Anne via walkie-talkie.

Suggs takes to the airwaves again, this time joining Ken Bruce to choose a selection of songs from his Golden Year, 1970, including Lola by The Kinks, Ride a White Swan by T Rex, Wild World by Jimmy Cliff and Up the Ladder to the Roof by The Supremes. The pair also chat about Madness’s upcoming tour, the House of Fun Weekender and the time Suggs was asked to play double bass at school, having never played it before.

Suggs makes another appearance on the station, this time choosing his top ten 80s songs. The rundown is: House of Fun (Madness), Sweet Dreams (Eurythmics), That’s Entertainment (The Jam), Mirror in the Bathroom (The Beat), Don’t You Want Me (The Human League), Keep On Movin’ (Soul II Soul), Relax (Frankie Goes to Hollywood), When Doves Cry (Prince), Good Thing (Fine Young Cannibals), Back on the Chain Gang (The Pretenders), Hungry Heart (Bruce Springsteen), One Step Beyond (Madness).

The director, cameraman and long-time Madness collaborator passes away aged 75 after a long illness. Jeff worked as a cameraman on many classic videos, including Baggy Trousers, House of Fun, Cardiac Arrest and Uncle Sam, and was also the brains behind Lee’s 2018 film, One Man’s Madness.

Suggs makes his seventh appearance on the long-running Sunday morning programme, joining Ben Miller, Sally Phillips, Matt Baker, Estelle and Emily Barber to discuss the year’s upcoming activity. He is also presented with a pair of walkie-talkies after his revelation earlier this month that he and wife Anne use them to communicate when he’s in his man cave at their new home. The singer also says he and his family now have an allotment, although he admits he’s ‘not particularly hands-on’.

Continuing his recent promotional activity, Suggs appears as a guest on Dermot O’Leary’s Saturday morning show, during which he discusses Record Store Day and this year’s touring activity.

For the annual collectors’ jamboree, Suggs and Mike appear at Rough Trade East in London for a one-hour signing session to mark the release of Take Cover!, a compilation of covers on translucent red vinyl. The running order is: Side A: ⁠One Step Beyond / My Old Man / It Must Be Love / ⁠In The Hall Of The Mountain King / Madness / ⁠Love Really Hurts / ⁠Sweetest Girl. Side B: ⁠Money Money Money / ⁠Oh My Love / Bittersweet / ⁠Roadette Song / If I Didn’t Care / ⁠The Harder They Come (Live At Madstock 1992).

The duo appear on the podcast to discuss their time in the band and their early days as graffiti artists in North London.

Whitstable local Suggs joins forces with actor Shane Attwooll to record a song for Whitstable Town FC. Written by David Barratt and Bill Clift of Men with Ven, and recorded in a local studio, WHITSTABLE (Town FC) celebrates the team’s upcoming appearance at Wembley in the FA Vase Final on Sunday 11 May. Listen to the song here.

The singer joins hosts Vinny Hurrell and Cate Conway to plug Madness’s Belfast gig on June 19 and also discusses his man cave and the band’s nearly 50-year career.

Madness kick off the first of four dates in the USA at the Channel 24 venue. Once again, Woody is absent for the band’s jaunts across the pond, with Mez Clough standing in on drums as usual. The setlist is mostly greatest hits from the 80s, plus The Harder They Come, Lovestruck, NW5, Mr Apples and a couple of Dangermen numbers thrown in. Despite flubbing perennial troublemaker Wings of a Dove, the band play well, with the effect of Suggs’s sobriety on the performance not going unnoticed. One surprise guest is former producer Clive Langer, who joins the band onstage for the encore.

Channel 24 is an amazing midsize concert venue, designed to fill a void between clubs and arenas in the Sacramento market. Set on an unassuming corner in a neighborhood on the fringes of downtown, a short walk from the state capitol, Channel 24’s angular edifice is marked by a sleek digital marquee. The spacious general admission auditorium still has that new venue smell, with swanky Pergo-style flooring in place of your typical cement slab. What better way to break in those laminate woodgrain panels than a horde of dancing Madness fans? After an opening set of vintage reggae and soul records spun by DJ Harry Duncan, the lights went down and it was showtime. In contrast with the magisterial Star Wars main title theme they chose last year, Madness took the stage to the blaring sugar-rush assault of Merrily We Roll Along, better known as the Looney Tunes theme. How utterly perfect. Somehow this entrance cue has Chrissy Boy’s fingerprints all over it. From there we were off and running into the familiar opening movement: One Step Beyond, Embarrassment, The Prince. Like last year, only five official members of Madness were present, with Mez Clough once again doing a fine job on drums in place of Woody. The Channel 24 sound system is a beauty, giving us defined separation of Mike’s mellifluous keys, Mark’s steady bass, Chrissy’s hot licks and Lee’s assorted noises. But my ears and eyes homed in on the main man, the geezer of leisure, Mr G. Suggs McPherson. The first notable thing about Suggs was his eyewear. In place of his usual dark shades, he was sporting thick horn-rims that were giving “grandad reads his Sunday Times.” Suggs was back in his old Ray-Bans for the rest of the US shows, so I think maybe he simply forgot to switch out of his Coke-bottle prescription glasses before stepping onstage in Sacramento. Whatever the reason, getting to see Suggsy’s eyes felt emblematic on this special evening when our man must have been feeling a bit exposed and vulnerable. The second notable thing about Suggs was he sounded fabulous. Voice in fine form, lyrics delivered accurately and on time. Even as he spouted his well-worn intros and stage patter, he was more focused and present. Suggs is now a changed man, emerging from a chronic mental fog. What a beautiful moment to behold. After the first few numbers, Suggs remarked that they were sounding pretty good, considering this was the first time they’d performed in six months. Thommo stepped to the mic and added in a proud timbre: “And there’s something new!” He outstretched both arms toward Suggs admiringly. “It rhymes with October,” Lee intoned with a wink. Suggs shrugged off the salute and never said anything himself about sobriety. He didn’t need to. All he had to do was sing. Suggs announced they were going to pull out a few oldies they hadn’t played in a while, which proved to be Lovestruck, Jimmy Cliff’s The Harder They Come and Grey Day. These three gems seemed to prompt the most excitement as measured in applause and fan comments afterward. For me, Lovestruck was the highlight of the evening. Suggs shaded the Barson/Thompson composition with new meanings; what was once the rollicking comeback single for the revitalized Madness of 1999 now works as reflections from a recovering alcoholic, spilling out his deepest feelings about his past. It was a truly powerful rendition I’ll never forget. The one big cock-up of the show occurred with Wings of the Dove, which went sideways after the first verse and careened to a halt. This is where I wish I had a recording to verify what exactly was said. But as I recall and understood it, Bedders was the one who derailed things. Barson admonished him like a bemused headmaster disappointed in his star pupil, with words to the effect of: “The idear is, we’re supposed to stay togevva!” Mark grinned sheepishly, then Suggs rallied the troops, saying something like: “Come on, we gotta get it right tonight. It’s the 12-inch extended version.” And they took the celebratory song from the top. The exchange made it seem that Suggs was putting in extra effort (and was probably glad it wasn’t him who goofed). There was another entertaining bit of theatre for my perennial favorite interlude, Chris’s Showtime. He told a crestfallen Channel 24 crowd that he’d decided not to sing tonight (awww…), and was trying to arrange some sort of audience call-and-response when he got interrupted by Lee’s chattering. Chrissy exploded and gave up, returning the mic to Suggs in disgust. “I guess it’ll be separate dressing rooms for them two after this,” Suggs said, then had to proclaim it Showtime himself. House of Fun, Baggy Trousers, Our House, It Must Be Love… you know the drill. The encores held one last surprise as special guest guitarist Clive Langer accompanied the band on Madness. What a treat to spot their esteemed erstwhile producer, whom I’d only seen before at House of Fun 2015 with his Clang Group. One certain fan quipped that Clive may have tagged along on the US trip as Suggs’s sponsor and support, being in recovery himself. Could be. So then the nutty train rolled along to Night Boat to Cairo and the Sacramento faithful went home happy with our new Uncle Sam T-shirts, tired feet and happy memories. My only grumble about the evening was the complete expungement of Theatre of the Absurd presents C’est La Vie from the setlist. I can understand that the band is switching into hits mode, aligning with the Hit Parade tour and compilation planned for late 2025, but come on. If they’re going to include Mr Apples, they should at least keep If I Go Mad in rotation. But that’s enough fan whinge. After seeing Madness in New York last year, I told myself I would be content if that were the final time I ever saw them. Such has proven not to be the case. God bless Madness for taking care of American fans, and God bless Suggs for taking care of himself.

Donald Trull

Following a better-than-decent show from The Go-Go’s on Tuesday and a triumphant outing from Nick Cave and the Bad Seeds on Wednesday, fellow Cruel World act Madness took the stage on Thursday night at the Fox Theater in Oakland to deliver a quick, fun set of ska and pop. Although the venue was far from full capacity, those in attendance certainly enjoyed seeing this former MTV favorite, which still features most of its signature lineup — including vocalist Graham ‘Suggs’ McPherson, saxophonist Lee Thompson, guitarist Chris Foreman, keyboardist Mike Barson, drummer Dan Woodgate and bassist Mark Bedford. Taking the stage right before 9pm, the man called ‘Suggs’ grabbed the microphone and uttered those oh-so-familiar lines from One Step Beyond. ‘Hey You! Don’t watch that — watch this,’ McPherson instructed in the same kind of echo-chamber delivery found on the original 1979 recording. ‘This is the heavy, heavy monster sound — the nuttiest sound around. So if you’ve come in off the street and you’re beginning to feel the heat, well listen, buster, you better start to move your feet to the rockingest, rock-steady beat of Madness. One step beyond!’ And, with that, the party was on. Thompson’s tenor sax stepped up to the forefront, honking and grooving through this first-tier ska classic, which was originally written and recorded by legendary Jamaican artist Prince Buster in the ’60s and then propelled to a whole new generation of listeners by the Madness cover from 1979. It was truly ‘the rockingest, rock-steady’ way to roll into this trip down Memory Lane, which lasted a quick 70-or-so minutes and included 21 numbers. Aided at times by a three-piece horn section to complement the work of the mighty Thompson, Madness sounded strong as they continued to move through offerings from at least eight of their 12 studio albums. Interestingly, the one that they skipped over entirely was their most recent — Theatre of the Absurd Presents C’est la Vie. But let’s just call that knowing your audience, since these fans — many of whom probably danced in their parents’ living rooms while watching Madness on MTV in the ’80s — were all about hearing the old stuff. And Madness were more than happy to oblige, cranking through such early singles as Embarrassment and Baggy Trousers (both off the 1980 sophomore effort Absolutely) as well as My Girl, Grey Day and House of Fun. I personally loved that Madness chose to include their very first single — The Prince — near the start of their setlist. For one thing, the song is just a blast. But, more importantly, it’s a way to get fans to remember (or learn about) the Jamaican ska genius of Prince Buster, who played a huge role in the Madness success story. For starters, Buster originated the song that would become the UK band’s namesake — Madness — as well as the breakthrough hit One Step Beyond. (If you’re a ska fan who doesn’t know Prince Buster then it’s certainly worth taking the time to correct that situation. Start with I Feel the Spirit and Fly Flying Ska and move forward.) Madness closed the just-over-an-hour main set with their two biggest pop hits — Our House and It Must Be Love — which, ironically, felt pretty anticlimactic in comparison to all the goodtime ska delivered earlier in the night. Fortunately, Suggs and company would quickly return — and crank the dance party to its highest level of the evening — with a double-shot of Prince Buster’s Madness and the still-fantastic Night Boat to Cairo.

Jim Harrington, East Bay Times

After a few weeks off to recharge their batteries, and with Mez behind the drum kit once more, the band embark on a nine-date tour of various various European festivals. Starting in Gothenburg, the setlist is identical to the recent US jaunt, with Iron Shirt jettisoned.

A new one-hour documentary from ARTE charts the story of the band from their early years to the present day. Put together by French journalist Christophe Conte, the programme combines new chats with Suggs and Bedders with vintage clips and interviews. There is also fresh input from The Specials’ Lynval Golding and long-time Madness collaborator Rhoda Dakar, as well as the thoughts of former manager Dave Robinson and producer Clive Langer.

After being absent for the dates on foreign soil, Woody returns behind the drum kit for tonight’s show.

Madness made their return to Belfast for the 5th night of Belsonic over at Ormeau Park and I headed over to the gig to check it out. The English band, who have been on the go since the 70s, drew in a great crowd for their biggest gig in Belfast for Beslonic. Ormeau Park was absolutely packed with a sea of people wearing red fez hats in honour of their favourite band. There is a real passion from the fans of Madness and it’s something that I absolutely love when I’m there and get chatting to so many of them. They talk with such enthusiasm about them whether they’ve been following them for years or they’re there because their parents got them into it, that enthusiasm doesn’t waver. I’ve seen them for the past few years at Custom House Square and they seem to draw an even bigger crowd each time with more generations getting to know their iconic music. The weather was really on everyone’s side for this gig. It was just right in my opinion and it really put a smile on the faces of the crowd before the concert had even begun. A personal favourite of mine was when they performed It Must Be Love. This is one of my favourite songs of theirs and the crowd absolutely loved it and everyone was waving their hands in the air to the tune. They also got the crowd going with another firm favourite, Baggy Trousers. This one went down really well with both myself and the absolutely delighted crowd. If you missed out on this gig don’t worry at all because they’re doing a UK tour in November and December. So it could be the perfect excuse for a staycation and see your favourite band. Every year I see this band they genuinely do get better and better. Last night was no different and I did really love seeing them. So if you get a chance to see Madness I can assure you, you won’t be disappointed.

Justin Millar, Belfast Live

Tonight’s gig is notable for two things – a proliferation of green fezzes to mark the band’s appearance in Ireland and the absence of Bedders, who is playing gigs to promote Tritone, his new album with The Near Jazz Experience. He is replaced on bass by a figure known only as ‘Tom’.

To paraphrase car visionary Henry Ford, you can have your hamstring-busting, two-tone ska-fest in any colours you like — as long as they’re black and white. Well, to be fair, there were other colours. Mods and ska fans do summerwear too. All hats off to Madness; red Moroccan fezzes, full ceremonial Indian feathers, Texan stetsons, black London bowlers, Oxford straw boaters and Cockney pork pie hats all off too; they certainly know how to work a crowd. ‘Hey you! Don’t watch that. Watch this. This is the heavy heavy monster sound of Madness,’ says Suggs, and we’re off. One Step Beyond. Everyone bouncing. Corkonians, more cockney than jellied eels. The caretakers at Virgin Media Park (Musgrave Park) will be working overtime with the aerators to revive their hallowed rugby turf after this pounding, stomping and ultimately joyous night. ‘Do you like Queen?’ asks Suggs, singing a line from We Are The Champions. ‘Do you remember Top of The pops in 1979? It seems like yesterday. It was.’ In a stadium better known for flanking, henceforth hereabouts shall skanking be top ranking in honour of Madness, the new Ballyphehane Kings. For anyone unfamiliar with skanking, it’s that ‘running man’ dance. Plenty of syncopated footwork, an upward kicking motion coupled with a bobbing arm movement. ‘We had a bit of a cockup with the tickets, sorry about to anyone who got tickets to Boyzone. I don’t even know one of their songs to take the piss out of them. You know and we know that we are Madness.’ To see thousands of people doing it in synchronicity is eye-popping. If you love your shins, best keep moving. Slouches get slayed. ‘We played a gig here in Cork once a few years ago in a circus tent down by the river. The wind was blowing all over the place. I think the tent ended up in Kilkenny.’ Straight into My Girl’s Mad At Me. It’s so uplifting to hear lifelong fans singing along to all the hits. And what hits: One Step Beyond, Embarrassment, My Girl, Baggy Trousers, House of Fun, Our House and It Must Be Love. Plus plenty of bouncing belters: Night Boat to Cairo, The Prince, NW5, Shut Up, Wings of a Dove and Mr Apples. Die-hard fans were blown away by Suggs, Chris Foreman, Mike Barson, Lee Thompson and the rest. Far more than a nostalgic reunion, this set features several tracks that sitting well with their classic hits, not least songs from their ‘return to form’ 2023 album Theatre of The Absurd Presents C’est La Vie. ‘Give us a wave all you at the back if you can hear us. And you lot sitting in the stand, all the Boyzone fans, you alright? Yeah, take the weight off your feet.’ Into Driving In My Car. What a blast. Total Madness. A nod too to the well received opening acts. Local heroes The Frank & Walters were given all the love they so richly deserved, not least making their way along in front of the seated stand after their set, pausing to shake hands, chatting and having their photos taken with fans. And to Ocean Colour Scene, who still rock too.

Joe Dermody, Irish Examiner

After returning for the two gigs on the Irish mainland, Woody returns home to Scotland, with Mez deputising on drums for the remainder of the continental shows.

As well as Woody, Chris is also missing for tonight’s show, with an unidentified stand-in on guitar. The gig also has a false start, with Lee seemingly not ready and Suggs forced to repeat ‘One Step Beyond!’ to get things moving.

Behind the rhythmic joy of ska and the pantomime videos of the British group Madness, there were social and personal rifts. But they didn’t want drama, but comedy, which is how the British working class was often portrayed in times of crisis. And so there were people dancing to songs that weren’t as cheerful as they seemed, or that were accurate portraits of working-class families made with costumbrista verses, like the immortal Our House. It’s the magic of British pop, inherited from the great storytellers of English literature. Lluís Gavaldà of Els Pets could write a doctoral thesis on this type of song. Therefore, every time Madness visits us, we must celebrate the fact that a group of young people from Camden decided to form the group in the late 1970s. All that’s needed is for the concert to respect the legacy. It happened in 2022 at the Pedralbes Festival, and also this Friday at Poble Espanyol, as part of the Alma Festival. Incidentally, of the 20 songs in the repertoire, they repeated 18, and the only changes were in the middle section, when they played the version of The Harder They Come, by Jimmy Cliff, and Grey Day, from the album Madness 7 (1981), a dub-pop song with the echo prolonging the end of the verse. The rest was the same, familiar and well-known, even including some cracking jokes about the Spice Girls and the comedy tricks of thieves and nightwatchmen that saxophonist Lee Thompson has been promoting for over 40 years. Singer Graham ‘Suggs McPherson’, 64, maintains all his charisma behind his sunglasses and his microphone skills; his voice isn’t what it used to be, but he knows how to use it dramatically, especially in songs like Lovestruck and Pregnancy (with the characteristic keyboard and metal game), and also in the most sour Mr Apples (from the album Can’t Touch Us Now, 2016). Another way to view the concert is to read it as a Madness story, a tale that begins by honoring Jamaican musician Prince Buster (1938–2016), the decisive influence on the British group. They opened the performance with a cover of the ska master (One Step Beyond), the third song they played was The Prince, the band’s first single. By then, the packed Poble Espanyol crowd was already dancing, engaged, to the rhythmic cadence of ska, moderately, as befits the average age of the audience. And the penultimate song was Madness, the Prince Buster piece that gives the London group its name. The story continues with the pop talent, that of My Girl and Wings Of A Dove, for example, now sung with a lower but equally exciting tone, and goes through the costumbrismo of Bed And Breakfast Man, another pop prodigy that places Madness in a tradition shared with other portraitists of urban nature such as Ray Davies (The Kinks), and which includes the forays into the dark side of Mr. Apples. It was in the second half of the concert that the songs that made them so popular in the 1980s came together, their success sometimes masking the sadness or vulnerability of their backstories. House Of Fun, Baggy Trousers and Our House made the audience accelerate the pace of cadence and enthusiasm. The story of Madness would be incomplete without the contrast between the ode to love, It Must Be Love, Labi Siffre’s version that the audience knew how to sing with conviction, and the final joke of Night Boat To Cairo, before which Suggs used a white towel to tease Thompson. The concert was over, but the Poble Espanyol didn’t empty out, because the people held their positions while the technicians began to dismantle the equipment and the music played. Always Look On The Bright Side Of Life, the film’s farewell song Life Of Brian.

Xavier Cervantes, ara.cat

Chris is again missing for tonight’s show, replaced once more by an unidentified guitarist. The gig is also noticeable for the surprise appearance of actor Warwick Davis, who runs on stage with fellow fancy dress policemen during Shut Up and administers a mock beating to Lee, who is dressed as a burglar. Watch a clip here.

Maybe it was the sun? Maybe it was the effect of the two-pint cups of cider being served? But did we really see Harry Potter and Star Wars actor Warwick Davis run on stage at the Eden Project last night dressed as a policeman, before giving Madness sax player Lee Thompson – in thief attire – a damn good truncheoning? Yes we did. In fact, this year’s BAFTA Fellowship recipient returned to the stage to say how he used to dance in his bedroom to the Nutty Boys in his childhood and said he’d do the same if they played One Step Beyond (again). The ska legends duly responded before frontman Suggs brought things to a resounding halt, not keen on being “upstaged by a superstar”. The mid-set hijinx were testament to Madness’ mindset – fun – and this penultimate Eden Session of 2025 was all about enjoying lots of it, from the red and black fez hats on sale to the sunny sounds of the ska support of Rhoda Dakar, who fronted one of 2 Tone’s original bands, The Bodysnatchers. Her reggae-fied versions of Morrissey’s Everyday Is Like Sunday and Bowie’s The Man Who Sold The World got the crowd in the mood for the kings of pop. No one has ever done quintessential English pop hits as well as Madness. Instantly catchy, choruses other songwriters would kill their dealer for, a bit of social commentary and – back when these things mattered – brilliant videos. Even if back in the day you were a New Romantic or a metaller, you could not deny the brilliance of Madness. And so it was that Eden was served up a night of hits and should-have-been hits – even the ones you didn’t think you knew dug out a half-remembered lyric from your brain. Last night’s concert (Saturday) couldn’t start anywhere else really – a gloriously skanking One Step Beyond with Lee’s unmistakable sax joining forces with a three-piece brass section, then the first of those songs which will always remind many of us of a certain age of carefree school days, Embarrassment, followed by the first single from way back in 1979, The Prince – their homage to reggae hero Prince Buster. It’s incredible that after 46 years, six of the seven original members are still in the band, although there was a stand-in guitarist at Eden as Chris Foreman was unwell. The indomitable rhythm section of Bedders on bass and Dan Woodgate on drums was as effective as ever and no one can beat the distinctive piano sounds of Mike Barson. Suggs was his usual chatty-geezer-at-the-bar self – even if he appears to be off the sauce now. Some of his banter was gloriously un-PC. Graham McPherson worried about cancel culture? Shut up (to name another of their addictive hits – the one where Warwick stormed the stage). NW5 (a more modern Madness classic), My Girl, The Sun and the Rain, the lounge bop of Return of the Los Palmas 7, the irresistible gospel of Wings of a Dove, Lovestruck (where Suggs falls for a lamppost), Grey Days, hit single that never was Bed and Breakfast Man … they kept on coming. Then it was “showtime” as Suggs put it, a relentless, joyous run of evergreens – House of Fun, Baggy Trousers, Our House and It Must Be Love. Does it get any better than that? Probably not. Madness have played in Cornwall umpteen times, first appearing in 1979 at the Cornwall Coliseum, just a couple of miles away from Eden. That gig is still remembered by those who were lucky enough to have been there as a feisty sweatfest. The only sweat yesterday was due to the heatwave. Age may have caught up with the band and their fans since then, but they’re still marvellous live. An encore of Madness, of course, and Night Boat To Cairo took everyone home with a skank (it has a different meaning for us oldies, kids) in their step. The Nutty Boys did it again.

L J Trewhela, Cornwall Live

There’s something about Madness that defies time. Maybe it’s the brass, maybe it’s Suggs’ irrepressible charm, or maybe it’s just the sheer joy they radiate, but standing in the Eden Project on a warm July evening, surrounded by 6,000 skanking souls, we felt like we’d stepped into a time machine powered by ska and sentimentality. We arrived early, partly to soak in the pre-show buzz and partly to get a good car park space so we could hot foot it out fo there at the end. The Biomes loomed like alien temples, glowing in the dusk, and the crowd was already a patchwork of trilbies, Hawaiian shirts, and grins. Madness took the stage ten minutes late, but no one cared. The moment One Step Beyond kicked in, the place erupted. Suggs, ever the master of ceremonies, strolled out with that familiar Cockney swagger and immediately had us eating out of his hand. “Apologies to those expecting the Wurzels reunion,” he quipped, and just like that, the Eden Project became their House of Fun. The setlist was a glorious romp through their back catalogue. Baggy Trousers, Embarrassment, My Girl, The Prince, each one greeted like an old friend. We found ourselves dancing next to people of all ages, clearly three generations of some families were there all together. That’s the magic of Madness, they’re generational glue. Midway through, we got a surprise guest. Warwick Davis, yes, that Warwick Davis, popped up on stage to declare his lifelong love for the band. He didn’t quite run around the stage as he promised, but there was some enthusiastic bouncing and arm-waving, and the crowd lapped it up. Suggs looked genuinely touched, and they even reprised One Step Beyond in his honour. As the sun dipped behind the Biomes and the lighting took over, the atmosphere shifted. It wasn’t just a party anymore, it was something deeper. House of Fun, Baggy Trousers, and Our House landed in quick succession, and suddenly everyone was dancing like their lives depended on it. Even the security staff were nodding along, even the one who got a blast in the ear from Lee Thompson’s saxophone. Lee was on great comedy form all night. Then came It Must Be Love. We’ve heard it a hundred times, but there was something about hearing it here, arms raised, voices unified, that made it hit differently. It was tender, euphoric, and oddly moving. Suggs didn’t milk the moment, no drawn-out ego stroking, just a quick break, a sip of something cold, and back they came for the encore. Madness and Night Boat to Cairo closed the night, and if the crowd had any energy left, they spent it all right there. We watched a man in a fez collapse onto the grass, laughing, while his mate tried to revive him with a Cornish cider. It was that kind of night. Production-wise, Eden doesn’t need much. The natural amphitheatre, the glowing domes, the twilight, it’s all built-in spectacle. But the lighting crew deserve credit for enhancing the mood without overwhelming it. The whole place shimmered with warmth and nostalgia. Madness aren’t trying to be anything they’re not. They’re not chasing trends or reinventing the wheel. They’re just being themselves, cheeky, heartfelt, and endlessly entertaining. Forty-six years into their career, they’re still packing out venues, still making people dance, and still reminding us that music doesn’t have to be complicated to be profound. Sometimes, all you need is a saxophone, a good hook, and a frontman who knows how to make you feel like you’re part of something bigger. Madness at Eden wasn’t just a gig. It was a celebration, of music, of memory, and of the kind of joy that only comes from sharing songs we love with people who love them too.

Alex Pennington, music-news.com

The band Madness originated in 1976 as the ‘New London Raiders’ before evolving into the lineup we recognize today. After several changes, they solidified their formation by 1979 and quickly rose to fame with hits from their first three albums. Though they disbanded in 1986, members briefly reunited as The Madness in 1988 for a single album. The full original seven members came back together in 1992 for the massively successful Madstock concerts, drawing over 75,000 fans and leading to more shows through the 1990s. They released Wonderful in 1999 — their first album as the original lineup since 1984 — though they had continued as a six-piece after Barson’s 1984 departure. Despite periodic breaks by individual members, Madness has remained active, releasing five more albums since Wonderful, culminating in their first UK Number 1 with 2023’s Theatre of the Absurd Presents C’est La Vie. Their remarkable 46-year journey, through lineup shifts and comebacks, has cemented their enduring legacy and relevance in British music history. On Sunday, 13th July, Madness performed at Tofte Manor — a picturesque countryside retreat in Bedfordshire — as part of The Manor series curated by promoter Labyrinth. The event marked the finale of a two-day festival that featured DJ sets and live performances spanning ska, reggae and dub, all set against an idyllic rural backdrop. The festival was impeccably organized, with plentiful food and drink options, merchandise stalls, first aid facilities and even an onsite Labyrinth walk that added a unique twist to the experience. Public transport was well-coordinated, with shuttle buses running efficiently to and from Bedford station. Secure lockers were also available, offering peace of mind for storing personal belongings and enhancing the overall comfort of the event. The concession and security staff were exceptionally friendly and helpful. A special mention goes to Harry, my onsite contact, who went above and beyond to ensure I was well accommodated. The atmosphere throughout was warm and welcoming, the setting was stunning and the entire festival experience felt thoughtfully curated and thoroughly enjoyable. Then came Madness — the final act of the weekend. With a rich legacy spanning nearly five decades and a catalogue of 12 studio albums, they delivered hit after hit, thrilling a multi-generational crowd that had gathered to celebrate their enduring legacy. The band took to the stage at sunset, opening with the electrifying One Step Beyond, instantly setting the tone for a night to remember. They followed with classics like Embarrassment and The Prince, captivating the audience from the first note. More beloved songs followed, including My Girl, Driving in My Car, Return of the Los Palmas 7 and Lovestruck. The band sounded tight and refined, bolstered by a skilled percussionist and brass section. Suggs’s vocals were particularly impressive, delivering a performance full of energy and charisma. For a band that has been around this long, Madness continues to sound fresh, vibrant, and relevant—they are, without question, a national treasure.

Alan Bryce, All Music Magazine

Suggs joins Paul Weller and Jerry Dammers at a special fundraiser to help provide food, water and medicine for children in Gaza. Paul Simonon from The Clash and Primal Scream’s Bobbie Gillespie are also among those who DJ at the event, which is held at the Century Club on Shaftsbury Avenue.

Ska band Madness turned Dreamland into a House of Fun last night when they came ‘Down to Margate’. The Scenic Stage arena at the site was full of fez-wearing fans who flocked to the seafront venue to see the band return to a Kent venue for a second year in a row. The group, fronted by singer Suggs, once again packed the venue to capacity as they delighted fans at the Thanet theme park as part of its Summer Series this year. The place was packed with fans of all ages, but the older devotee enthusiasts in their late 50s, all wearing the cockney legends’ vintage style of clothing and classic Fedora hats, certainly danced the night away to their 2-Tone genre of anthems. And they didn’t disappoint the thousands of followers who wanted to hear their hit tracks such as Our House, It Must Be Love, Baggy Trousers, One Step Beyond, Wings Of A Dove and Night Boat To Cairo. Suggs also amused fans throughout the set with his comedy moments and even executed an impromptu little solo performance of the Chas & Dave classic, Margate, which made the crowds cheer with delight, despite him not being able to remember all the words of the English pop-rock duo’s famous track. The gig was truly a Madness fest, and it’s no wonder the place was packed as it was when they performed at the venue last year, as over the decades, the London-based band have achieved 15 Top 10 singles and won two Ivor Novello Awards. The band released their debut album, One Step Beyond, in 1979, and it’s no wonder so many music lovers are still mad to get a glimpse of them on stage as they are still fresh, fun and get their fans buzzing with the excitement of the nostalgia of their youth.

Lynn Cox, Kent Online

Bringing Y Not Festival 2025 to a triumphant close, Madness proved exactly why they’re still one of Britain’s most beloved live acts. As Sunday night’s headliners, the ska legends delivered a set packed with hits, nostalgia, and feel-good energy that had the entire crowd dancing from start to finish. From the moment they took the stage, it was clear we were in for a party. With their trademark charisma and sharply dressed swagger, Madness launched into a string of classics that had everyone — from longtime fans to first-timers — singing along in unison. One Step Beyond set the tone with its infectious energy, while Baggy Trousers, House of Fun and Embarrassment kept the tempo high and the crowd buzzing. Suggs was in fine form, effortlessly engaging the audience with his dry wit and cheeky banter. The band, tight as ever, sounded fresh despite decades on the road — a testament to their enduring chemistry and musicianship. But the true standout moment came during It Must Be Love, when thousands of voices joined together in a heartfelt chorus under a canopy of lights and a sky full of confetti. It was one of those perfect festival moments — joyous, unifying and just a little emotional. As they closed with Night Boat to Cairo, arms flailed, feet stomped and the field turned into a giant ska dance floor. Madness didn’t just close the festival — they owned it, reminding us all that even after all these years, they still know exactly how to put on a show. A perfect ending to a brilliant weekend.

Faye Stacey, undertheradarmag.com

Madness? Well, there’s a chequered history. The first time they played the Victorious Festival we watched them on the hill on the Castle Stage and really enjoyed them, though they didn’t play favourite, Grey Day. The second time, on the Common Stage, Suggs was a little bit worse for wear and even his band mates were telling him to Shut Up (see what I did there?). So do I give them one more chance? Or do I watch Dodgy who are performing Under the Trees? We decided in the end to give Mr Madness a second chance. But if Suggs showed any signs of annoying me, it was going in this review! Thankfully for him, he knew just when to pull it back like meeting someone at a family wedding, who you just know is going to say something inappropriate and embarrass you if he opens his mouth. (I could link to Embarrassment there I suppose). Thankfully for us, the songs told the story and we could ignore his babbling in between. It’s clear he loves performing and with that immense back catalogue of thirteen albums and forty three singles, it’s easy to see why. The beauty of their music is that the piano and horns are so prominent and you don’t get to hear that so much these days. Yes you get the fun songs like Driving in My Car, Baggy Trousers and House of Fun, but you also get the homage to Buster and old ska classics, The Prince and One Step Beyond bringing ska to the masses. Don’t forget the observational songs of normal British life, narrating often serious subjects such as Cardiac Arrest, but also the general humdrumness of life in the lyrically brilliant Our House. It’s easy to forget just how clever Madness were. If you had forgotten, then their encore, Night Boat to Cairo, just says it all. You all climb aboard the Night Boat, doff your imaginary fezzes and dance along. Sitting on the hill watching them, we saw everyone bouncing along, following Uncle Suggs on his conga line at the end of the family wedding. Everyone is happy enough to forgive him the odd comment or two. Tonight was how you headline a festival and they did play favourite Grey Day, which literally embodied our 54-year-old bodies the next day: “In the morning I awake, my arms, my legs, my body aches. The sky outside is wet and grey, So begins another weary day…”

Carron Stacey, monstagigz.com

Madness brought the curtain down on the Colchester Castle Summer Series in their own inimitable style with a memorable show. Thousands of music fans flocked to Castle Park on Saturday night for the finale of the successful series of concerts and were treated to a barnstorming set by the legendary ska and pop band. The show had been billed as an ‘unmissable night of legendary music’ – and Madness did not disappoint as the final headliners of eight shows in Lower Castle Park. With Castle Park awash with red fezzes and pork pie hats in homage to the British music icons, the nutty boys gave the crowd exactly what they wanted – and much more. Arriving upon a retro television backdrop, they appeared to huge cheers and cracked on with what they do best. With more than four decades’ worth of hits under their belt, they kicked off with the familiar sound of One Step Beyond, which unsurprisingly got the big crowd moving straight away. Hit after hit then relentlessly followed, from Embarrassment to The Prince, from My Girl to Driving in My Car – where lead singer Suggs squeezed in a nice reference to Colchester. It was a relentless experience of upbeat energy and vigour, both on the stage and off it as the audience lapped it up. “It’s been a great summer…and what a lovely place to end it,” exclaimed Suggs to the crowd, who responded with a big cheer. Still the hits kept coming: Wings of a Dove went down a storm, as did the likes of Bed and Breakfast Man, Shut Up and then a seamless sequence of classics – House of Fun, Baggy Trousers, Our House and It Must Be Love. It was then that Madness exited the stage to huge cheers – but the Colchester crowd knew that it wasn’t the end of the evening. “One more song” came the chant and the band soon reappeared to a huge ovation, spelling out their name letter by letter before embarking on a cheery rendition of Madness, their cover of Jamaican ska singer Prince Buster’s track.

Jonathan Waldron, Colchester Gazette

After missing most of the summer gigs, Chris issues an announcement on social media, revealing that he has a form of cancer called myeloma. The guitarist says although incurable, it is treatable, and he aims to back on stage in 2026.

Madness close the show at this this year’s annual awards ceremony, playing a live version of It Must Be Love. Guest saxophonist Phil Veacock stands in for Lee, with Suggs explaining in a social media clip that he’s broken his arm. Hosted by comic Bill Bailey, the show also stars The Boomtown Rats, soul singer Nyah Grace, poet Vanessa Kisuule and rock vocalist Ailis MacKay, with Bob Geldof receiving the Lifetime Achievement Award.

The singer kicks off a week of promotional activity on BBC Radio 2, popping into the Saturday lunchtime show to plug the upcoming Hit Parade album and the band’s Christmas tour.

The band issue what is described as “the definitive collection” of 45 Madness singles, spanning 1979 to 2024 and including 27 top 40 hits. Available in multiple formats, the chronological running order is: 1979-1986: The Prince, One Step Beyond, My Girl, Night Boat To Cairo, Baggy Trousers, Embarrassment, The Return Of The Los Palmas 7, Grey Day, Shut Up (Single Edit), It Must Be Love, Cardiac Arrest, House Of Fun, Driving In My Car, Our House, Tomorrow’s Just Another Day, Wings Of A Dove, The Sun And The Rain, Michael Caine, One Better Day, Yesterday’s Men (Single Edit), Uncle Sam (Single Edit), Sweetest Girl (Single Edit), (Waiting For) The Ghost Train. 1992-2024: The Harder They Come (Live At Madstock 1992), Lovestruck, Johnny the Horse, Drip Fed Fred (The Conspiracy Mix, Shame and Scandal, Girl Why Don’t You, Sorry (Radio Edit), NW5 (Radio Edit), Dust Devil (Radio Edit), Sugar and Spice (Radio Edit), Forever Young (Melt Music Radio Edit), My Girl 2 (Radio Edit), Never Knew Your Name, How Can I Tell You (Radio Edit), Misery, La Luna, Mr.Apples (Toerag Mix), Can’t Touch Us Now, Bullingdon Boys, C’est La Vie, Baby Burglar, Round We Go (Single Version)

For many, they were a bit of a joke, but Suggs & Co were also masters of seemingly innocent social commentary. From House of Fun to Grey Day, Madness covered topics that sat uncomfortably with their North London ‘nutty boys’ routine. This huge 45-song collection kicks off with the hits, but part two is more enlightening when the focus shifts. They’re still in good nick nodding to Prince Buster (Girl, Why Don’t you?), and when musing on London life (Dust Devil) or ageing (Misery). Witty and pertinent, this a reminder of their flippant genius.
Sunday Mirror

The singer continues his round of promotional activity by taking to the early-morning sofa. As well as discussing Hit Parade and the upcoming tour, Suggs hints at a possible Christmas single.

Mike joins Suggs for promo duties as the duo appear on the morning radio show to perform The Sun and The Rain live on the stool of rock.

After Mike arrives late, five members of the band sign copies of the new Hit Parade album on Oxford Street. Free mince pies are handed out to waiting fans, with a ‘no-selfie’ rule ensuring the event runs smoothly.

Continuing his round of promo appearances, the Madness frontman pops up on the ITV show with Christine Bleakley to discuss their shared love of Chelsea and plug the Christmas tour and new album.

Madness return to the south west for their 11th weekend festival. For the first time, the band only play on the Saturday night, with no mixed bag of rarities and B-sides on the Friday. The setlist is the standard greatest hits fare in preparation for the upcoming Hit Parade tour, with Cardiac Arrest and One Better Day given a welcome airing. The two other surprises are both cover versions, with Many Rivers to Cross played as a tribute to the recently departed Jimmy Cliff and I Wish it Could be Christmas Every Day revealed as the festive classic hinted at by Suggs on TV earlier in the week. With Chris still absent, Kevin Burdett continues to stand in on guitar, and is given a namecheck by Suggs half way through. Other highlights include the Violin Monkeys appearing as policemen during Shut Up to administer a mock beating to Lee, plus fan Karl Overend coming on-stage in a white suit adorned with light bulbs, carrying a lamp-post and sign that says ‘Cairo – NW5’. While most of the band depart after the performance, Lee stays around to perform with Skarunch on Sunday afternoon, with a selection of numbers from Crunch! and The Lee Thompson Ska Orchestra. Other acts across the weekend include The Skapones, The Inflatables, Potato 5, Mezz and the Fezzes, The Clang Group, The Deltones and various reggae legends, with the most energy provided by young Leeds ska outfit Rookie Numbers. Elvana and Skastruck also provide something a little different, plus there’s the usual assortment of DJs to keep the crowd entertained, along with a comedy afternoon, reggae aerobics, a book discussion with Paul ‘Willo’ Williams and American podcaster Poly Collins, and poetry from fan Owen Collins. The final acts of the weekend are Neville Staple, who leads the crowd through The Specials songbook, and veteran DJ Don Letts, who brings events to a close at midnight on Sunday.

One Step Beyond / Embarrassment / The Prince / NW5 / My Girl / Cardiac Arrest / (Tomorrow’s) Just Another Day / The Sun and the Rain / The Return of the Los Palmas 7 / Wings of a Dove / Lovestruck / Many Rivers to Cross / Bed and Breakfast Man / Shut Up / One Better Day / Mr Apples / House of Fun / Baggy Trousers / Our House / It Must Be Love / ENCORE: I Wish it Could be Christmas Every Day / Madness / Night Boat to Cairo

Madness kick off their Christmas tour in South Yorkshire, supported by Squeeze. The setlist is identical to Butlin’s, except for the reintroduction of Grey Day at the expense of Many Rivers to Cross.

A sea of red fezzes greeted Madness when they made their way onto the stage in Sheffield’s 13,000-capacity Utilita Arena on Thursday night. These little red hats – an emblem taken from their 1979 hit Night Boat to Cairo – are sold at the merch stand and have become commonplace at Madness shows over the years, and as the band launched into the propulsive One Step Beyond, they bobbed up and down merrily in the crowd. What’s also become tradition is a Madness tour at Christmas, and Thursday’s show kicked off the Nutty Boys’ first full UK tour in two years. Ostensibly in support of the band’s latest compilation album, Hit Parade, which collected 45 singles from between 1979 and 2024, the setlist was stacked with hits. It’s the songs that got the crowd on side: aside from the competent musicianship of Mike Barson on keys and Lee Thompson on saxophone, the show felt, in general, a little under-rehearsed. The person struggling the most through the 23-song setlist was 64-year-old lead singer Suggs. Swaying around the stage in his suit and sunglasses, he seemed swamped by the size of the stage and the venue. And while he has never been an excellent vocalist – that wasn’t the point, after all – this performance was more pub karaoke after a few too many than frontman at a pop show. The sound desk seemed to agree: at times, it felt as though his voice was being deliberately buried beneath the more impressive live instrumentation. It didn’t help that Suggs didn’t seem to be having very much fun. While Thompson stomped jovially up and down during songs like My Girl and Wings of a Dove, Suggs often struck a disinterested figure. His attempts to chat to the crowd were also lacking. “This is a song we wrote a long time ago. The tragedy of homelessness,” he said before the slinky yet politically charged One Better Day. “Not that we’re going to get into any of that.” Given the subject matter and the current rising rates of homelessness in the UK, it felt odd to bring up the issue then shrug it off. By the time we got to the 2016 single Mr Apples, which was lifted by a thrilling saxophone solo, the crowd were beginning to lose interest. Luckily, that was when Suggs announced: “This is the bit of the show we like to call show time.” What followed was an undeniable four-song run of House of Fun, Baggy Trousers, Our House and mass sing-along It Must Be Love, which ignited a spark under Suggs. It was just about enough to win the crowd back over and generate enough good will that people didn’t immediately leave during a dreadful ska take on Wizzard’s I Wish It Could Be Christmas Everyday. Still, it did feel as if the energy had come too late. In a show supposed to celebrate 45 years of solid gold hits, what a shame that Madness failed to bring the party. Yes, the fezzes were bouncing, but the band sure weren’t.
Alim Kheraj, The i Paper

The Nutty Boys are once again on the road, this time celebrating their latest best of package Hit Parade, and they opened their latest jaunt around the UK with an opening night at Sheffield’s Utilita Arena in spectacular style. There’s no better band for getting in the festive party atmopshere – but before we were treated to Suggs and Co, it was another trip back in time with fellow London outfit Squeeze who also plucked out a selection of classics to get things started. A nattily dressed lead singer Glenn Tilbrook (kitted out in a stylish checked suit) joined forces with fellow Squeeze songwriting icon Chris Difford to take us on a tour through the band’s eclectic back catalogue. So we had the melancholy yet beautiful kitchen sink drama of Up The Junction, the country and western tinged Labelled With Love and of course, the bouncy Cool For Cats, before things were rounded off with an extended version of the mighty Take Me, I’m Yours, which allowed each of the band’s eight members to shine with solo performances. A great starter to get things up and running. As the clock struck nine, the huge screens above the stage lit up and began blasting out the titles of the dozens of hit songs Madness have enjoyed over the years and which form the basis of Hit Parade, their new definitive hits package. From opener One Step Beyond (and its iconic “hey you, don’t watch that, watch this….” intro) it was a heady and nostalgic trip back to the late 70s and early 80s. And the fez-wearing, Doc Marten, Harrington-sporting audience, complete with pork pie hats, braces and drainpipe jeans lapped it up. But this wasn’t purely an exercise in trotting out the hits, even though all the classics were there in spades. It also allowed the band to delve into a few lesser heard cuts – Cardiac Arrest, The Return Of The Los Palmas 7 and newer additions to the canon, such as NW5, Lovestruck and Mr Apples. Missing regular guitarist Chris Foreman after a cancer diagnosis, the band were missing one of their key components, but still delivered a sparkling set packed with all the favourites. So that meant we had My Girl, Embarrassment and personal favourite The Sun And The Rain, before a finale which Madness always dub “showtime” a hit stacked ending to a memorable night. Coloured balloons bouncing around the audience and confetti usher in House Of Fun and then its a real party celebration – Baggy Trousers, Madness, Our House and a finale of Night Boat To Cairo. There’s even a chance to squeeze in a ska-tinged cover of Wizzard’s I Wish It Could Be Christmas Every Day to add to the festive proceedings, sending the ecstatic audience out onto the soaked Sheffield streets to end the evening on a high. Celebrating an astonishing five decades in the music industry, those sax-soaked ska anthems still hit the sweet spot today. There will always be a place for a spot of Madness for all of us. See you again next year, lads.

Darren Burke, Doncaster Free Press

Suggs and his troupe took the AO on a lively journey through the collective’s 50-year back catalogue of unmistakable songs. In keeping with the tour title, the show was a proud presentation of big, big numbers, Madness opening with the always energetic One Step Beyond followed by Embarrassment and The Prince. Suggs, 64, dressed in a sharp black suit and wearing shades, provided little titbits throughout the evening about his group’s history – rather fittingly for a greatest hits performance. Notably how Mike Barson, the band’s keyboardist, helped Madness find a tender side through their song My Girl. Released in 1979 and one of Friday night’s numerous highlights as the group hosted a ‘proper party’ for which they are renowned. Those in attendance coming dressed for their occasion, the arena’s standing selection being filled with countless devotees wearing a fez upon their head while other distinctive headwear was covered in flashing lights – presumably picked up from a vendor outside the Manchester city centre venue. On a particularly Manchester December day, the visitors from the south poked fun at the city’s much-loved weather. Throughout the festivities, there was much of the Madness cheeky humour and slapstick antics which fans came along expecting to witness. But make no mistake, musically, Madness are a serious outfit. Evidenced, in no small part, by just how long they’ve been in the business. The 11-piece, on-stage, in full-swing for the main set closing run of House of Fun, Baggy Trousers and Our House with multi-coloured huge inflatable balls sent bouncing into the crowd. That tenderness, referenced earlier, came back to the fore as they concluded with their version of Labi Siffre’s It Must Be Love. It was quite apparent many in the AO were taking their dad out for a festive treat, so Suggs delivering a cover of Wizzard’s I Wish It Could Be Christmas Everyday felt apt. It being one of three encore Madness offerings before the band sent the masses on their way. Suggs concluding: “Peace and love to all humankind…and even the mother-in-law.”

Craig Jones, Manchester Evening News

With Mez and the Violin Monkeys in glittery outfits, tonight’s gig sees a number of highlights, including a shout-out to Fife superfan Rob Wardlaw, who is attending his 100th Madness performance. John Hasler, who lives along the M8 in Edinburgh, makes his traditional visit onstage during Bed and Breakfast Man. And local piper Johnny Gauld also makes his usual welcome appearance before the encore, serenading the crowd before flashing his behind to the audience. The band then welcome a father and son onstage for Night Boat to Cairo, both decked out in full safari guy and the latter carrying an inflatable saxophone. Suggs and Mike both reference their Scottish roots during the show, with Scotland’s recent World Cup qualification also referenced – although Suggs cuts short any football songs when they start. The only bum note is Lovestruck, which finally gets going after four false starts.

Madness frontman Suggs congratulated Scotland on getting to the World Cup – before he took fans on a trip down memory lane by playing the best of the band’s back catalogue at the Hydro in Glasgow on Saturday night. The 64-year-old – whose real name is Graham McPherson – revealed: “My dad was born in f**king Glasgow, yeah.” He then joked: “You have got that s**t Brazil to deal with, f**k them.” The moment kicked off a No Scotland No Party chant at the Finnieston venue to which Suggs replied: “Alright Hampden Park, let’s pack it up for a second.” And his Scottish fans were only willing to obey after the singer wowed them by kicking off the show with One Step Beyond. This set the tone for the evening with the energetic crowd lapping up every single bit of his enthusiasm. Addressing the packed-out audience, the charismatic star said: “We were looking for songs that we haven’t played for a while, and this is one of them.” He then launched into the 1982 hit Cardiac Arrest. The night was about celebrating the band’s 45 years in music with Wings of the Dove and Lovestruck among the hits entertaining. Madness were on top form throughout the set with an outstanding display of musicianship coating Sugg’s unique vocals. This was really showcased on House of Fun which was delightful to hear in a live setting. Inflatable balls bounced around the standing area as the band amped up the atmosphere with the iconic Baggy Trousers and the anthem Our House. It Must Be Love was a highlight with the crowd singing in unison before the band got everyone in the mood for the festive season with a cover of Wizzard’s I Wish It Could Be Christmas Everyday. Impressing fans with a bagpiper who performed Flower of Scotland, Suggs said with a smile: “That’s Scotland in the World Cup, did I mention that?”.

Stacey Mullen, Glasgow Times

Legends Madness delivered hit after hit, bagpipes and a surprise cover of a Christmas classic as they brought a party atmosphere to P&J Live. From debut single The Prince, released in 1979, to 2016’s Mr Apples the Nutty Boys set spanned the highlights of their near 50-year career. Whilst watching Madness I was struck by the power of music to transport you to different times. As a youngster I was obsessed with 7, the album released by Madness in 1981 (and I still play it now). I spun the album over and over, and was delighted when Madness played three tracks from 7 – Grey Day, Cardiac Arrest and Shut Up. When the band launched into those songs I was immediately transported back in time, to when playing that album as a kid, feeling the sheer thrill of the songs. That is the power of Madness. Everyone has songs they are connected to. People fell in love to Madness, played the Nutty Boys at their wedding, and the band’s songs will also have helped many through tough times. Many at P&J Live will have those intense emotional connections with Madness songs. And when they played those tracks in Aberdeen it was like a time machine taking them straight back to those moments. The concert began with the unmistakable ‘Hey you, don’t watch that, watch this’ as singer Suggs launched into One Step Beyond. In a powerful opening Madness performed a kinetic Embarrassment before launching into The Prince, a tribute to ska legend Prince Buster. Dressed in black suit with shades Suggs said, ‘This was our first love song’ before launching into My Girl. The tour is primarily in support of Madness’ latest compilation album Hit Parade, which collected 45 singles from 1979 to 2024. Although they played the hits it should be remembered Madness continue to record and release new material, with album Theatre Of The Absurd Presents C’est La Vie hitting number one in the charts in 2023. Special mention to support act Squeeze who delivered a superb set. During Tomorrow’s (Just Another Day) a large, solitary balloon appeared which bounced around the crowd. Suggs joked: “One balloon. It’s hardly Coldplay.” That would change later in the show. Saxophonist Lee Thomson and pianist Mike Barson remain a musical force, driving Madness on. A three-piece brass section further beefed up the sound as Suggs announced a section he called “showtime”. It began with number one hit House of Fun with huge multi-coloured balloons introduced to the crowd who were happy to bounce them around. The arena was like a bingo machine! There was then a run of classics including Baggy Trousers and Our House. Suggs introduced It Must Be Love with a call for “peace and love for all humanity” before the band burst into the song. Golden confetti dropped into the crowd, shimmering and the band stopped playing, with the crowd filling the gap by singing ‘love, love, love’. When the song finished Suggs urged the crowd to ‘feel love’. It was a powerful message in troubled times. At the conclusion of the set a bagpiper entered the stage and performed Flower of Scotland. which the crowd passionately sang along to. In the encore Madness played a ska cover version of the Wizzard hit I Wish It Could Be Christmas Everyday. Many fans will have left P&J Live wishing they could see Madness every day.

Sean Wallace, P&J Live