As Stanleys took to The Waterfront stage to the strains of The Mike Flowers Pops’ ‘Wonderwall’, it was difficult to know whether to expect pastiche or a confident band with a wry sense of humour. If anything, the choice was clever, giving a nuanced taster of a show steeped in Britpop influence but imbued with flashes of sixties easy-listening flair. Hailing from Wigan — birthplace of The Verve and The Lathums — the four-piece tap into a lineage of tuneful northern guitar bands but bring their own musicianship and energy to the stage.
Led by frontman Tom Concannon, the band centres around solid songwriting, a strong instinct for hooks, and sharp musicianship. From the start, it was clear that guitarist Jake Dorsman would be a standout presence, with his expressive playing adding real colour to the band’s sound. Alongside him, Harry Ivory on bass helped form a supremely talented duo at the centre of the Stanleys’ sound. Added to this was Rob Hilton on drums and backing vocals to give the set its steady foundation, depth and dynamism.
The night began with Peterborough openers The Portland, whose indie rock set was steady and well-received, if sounding a little familiar in places. They warmed up the crowd with a no-nonsense raw delivery and likeable stage presence. Following them, Ipswich four-piece Afterdrive offered something more distinctive. With a sound that leans towards soulful indie-pop — polished vocal harmonies and groove-driven arrangements — they showed real potential. Their set felt both well-honed and full of promise, bursting with energy — underscored when lead singer Ben Watts laughed, “I’m out of breath!”
Stanleys opened with ‘Look Back’, a bass-heavy track that immediately pulled the crowd into their groove. The rhythm section of Ivory and Hilton was particularly effective here, creating a driving pulse beneath Concannon’s vocals. By the time they reached ‘Time Waits For No One’, Dorsman moved to the fore with a bright, expressive guitar solo — controlled yet emotive, giving the track real bite.
There’s a relaxed confidence in how Stanleys connect with their audience. Before ‘I’ll Try’, Concannon asked, “Does anyone feel like dancing?” — and the shift in tone was delivered. The track veered into funkier territory, with hints of jazz-funk rhythm and tight, syncopated interplay. Dorsman’s playing was rhythmically spot-on, showing another side to his style.
The set reached its emotional high point with ‘So Long’, an “old song” — as Concannon described it — which was a shimmering Britpop moment anchored by a beautifully rich motif from Dorsman’s Gibson guitar. The track’s jangly precision brought to mind The La’s — unpretentious, emotionally grounded, and musically tight.
Following this, ‘You (Just Looked Right Through Me)’ was introduced as having “a darker edge”. While the heavier drums and more urgent tone shifted the mood, the chorus added unexpected lightness. The sound evoked The Monkees — not in a novelty sense, but in the way the song blended introspection with a nod to sixties pop royalty. It showed the band’s knack for playing with contrast without sounding disjointed — making The Mike Flowers Pops walk-on track feel more pointed in retrospect.
‘What’s Been and Gone’ and ‘He Knows’ followed, flowing directly into each other via a short drum solo from Hilton. While more conventional in structure, the songs still carried an easy appeal, though Concannon’s vocals were occasionally overpowered by the instrumentation. Even so, Hilton’s powerful drumming and the clap-along rhythm kept the atmosphere buoyant and the audience engaged.
The final part of the set saw the band find their stride again. ‘Why Would I?’, introduced as the last song, proved to be popular with the crowd — jangly, breezy, and with a chorus that invited a singalong. Despite A Better Life being introduced earlier as their most streamed track, ‘Why Would I?’ connected more with the audience.
After a cheeky “I lied” from Concannon, Stanleys launched into their true closer: ‘She’s Done It Again’, ending on a solid note of layered guitars from Dorsman and Ivory, driving drums and enthusiasm. It was a strong finish from a band who, while still clearly growing, already play with high levels of talent. Britpop, classic sixties pop, and northern guitar bands are clear influences on Stanleys’ music and at times it feels they struggle to find their own signature sound. Likewise, the vocals are sometimes lost within the powerful soundscape the talented musicians create. But, when the guitar-driven hooks shine through, Stanleys create some infectious ear worms — their own ‘Wonderwalls’ that show they are a band worth keeping an eye on.
Words and photos by Andrew Butcher
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