The Darkness 'Dream on Toast' Tour
Cambridge Corn Exchange - 28/03/25
Cover Photo: Simon Emmett
The Darkness
The UK's favourite hard-rock meets glam-rock band, The Darkness, are currently out on a tour, which to this point had been celebrating the impending release of their eighth studio album, 'Dreams on Toast'. However, yesterday saw the album be released into the world, on a day which happened to coincide with the group's date at Cambridge Corn Exchange. A capacity crowd awaited the Lowestoft rockers, eagerly anticipating a night of sensational new music intertwined amongst the band's biggest hits.
'Dreams on Toast' is arguably The Darkness' best album of the last two decades, and if you needed live proof, you wouldn't have had to wait long. After being welcomed to the stage to ABBA's 'Arrival', shadowed by the most impressive stage set-up I've seen at the Corn Exchange, the four-piece quickly kicked into their first offering from the new record, 'Rock and Roll Party Cowboy'. The track epitomises everything good not only about the new album but also The Darkness as a whole, combining a hard-hitting soundscape with lavish stylings.
The newest album would then be replaced by their oldest, kicking into a duo of songs from their 5x Platinum debut album 'Permission to Land'. The infectious 'Growing on Me' swiftly transitioned into the riotous 'Get Your Hands Off My Woman', with the latter being finished by lead vocalist Justin Hawkins impressively doing a headstand whilst clapping his feet to the beat. The gap between these two songs was filled by Hawkins welcoming the crowd, declaring this as their "homecoming show" due to their actual closest-to-home date being a seated affair. It is safe to say there was no danger of this night becoming seated, as the sold-out crowd were jumping and dancing as one widespread body from the very get-go.
It was not just the crowd who would move as one, as all four members of The Darkness exist as a singular moving body, bouncing off one another like it was second nature. Justin Hawkins often gets most of the limelight, which, given the combination of his vocal prowess, guitar ability and stage presence, isn't too much of a shock. However, it is Justin combining with the shredding guitar of his brother Dan Hawkins, the heavy basslines of Frankie Poullain and the hard-hitting drums of Rufus Taylor that really sparks the magic of The Darkness. The quartet seem born to play together, and as we enter Taylor's tenth year with the band, it is no shock why this current iteration of The Darkness has brought so much success. Even with the addition of "fifth member" Ian Norfolk for a few songs, the chemistry remained high, with every musician on stage giving their all and having the time of their life whilst doing so.
Much of the night's setlist was composed of songs from The Darkness' new record or their debut release, but there was still time in between to showcase some of their more recent material, with a noticeable highlight being the title track of their last studio release, 'Motorheart'. The band mastered their way through this at a ferocious pace, backed up by flames and mechanical pistons firing around the big screens behind them. Another highlight was the fan favourite song 'Heart Explodes', taken off of their 2019 album Easter is Cancelled. This ballad-esque song sees Justin Hawkins flex his vocal power to the fullest, backed up by a huge singalong from all in attendance.
The new material fitted perfectly within these crowd-pleasing tracks from yesteryear, with 'Dreams on Toast's lead single, 'The Longest Kiss', immediately turning the floor of Cambridge Corn Exchange into one big dancefloor. Although it wouldn't be long until this dancefloor disappeared, being rather humorously replaced by a marching ground. After a brief conversation with the audience around The Darkness' chance of getting a Number One album next Friday, Justin would go on to teach everyone a marching dance he wanted them to follow during the chorus of another new track, 'Walking Through Fire'. All in attendance happily obliged, creating the most incredible spectacle when the chorus kicked in.
As the main set neared its end, there was still time for one quick line-up change, as Scott Whisker, the band's bass and drum tech, would take over drumming duties. This freed Rufus Taylor up to take centre stage and lead vocals on his original composition 'My Only', a song written about his Boston Terrier 'The Don'. As Rufus wonderfully sang his way through the track, we were treated to some of the cutest imagery I have ever seen at a concert, as pictures of The Don filled the screens. There was an unfortunate crowd incident which took place during this song, which I only mention to highlight the sheer care and professionalism that Justin Hawkins possesses, taking a higher position on a stage mic to look down and make sure everyone was okay before carrying on with the energetic set closers; and energetic closers they were.
A meteoric version of 'Japanese Prisoner of Love' flew briskly into the most energetic version of 'Friday Night' I think I have ever heard, before The Darkness' biggest track, 'I Believe in a Thing Called Love', brought the main set to an end. The response to this last track was as energetic as expected, but to the audience's credit, virtually every song played received just as deservedly large a reception.
After a brief outfit change into formal wear, The Darkness would reappear for an encore driven by two final offerings from their new record. The first track played was the atmospheric 'Weekend in Rome', which saw Rufus Taylor fill gaps in the jamming sections with spoken word. As this song came to an end, Justin Hawkins stood posing to take in the audience's admiration when all of a sudden a sea of flowers began heading for the lead singer from the crowd, creating quite the picturesque sight. This beautiful imagery would soon be pushed to the side in order to allow one final moment of electrifying rock to take place in the form of the night's final song, 'I Hate Myself'. This track is one of the very best The Darkness have released and could not have provided a more perfect close for this night, and I imagine many more nights like this in the future.
If the sound of the new music being released isn't enough to convince you that The Darkness are back to their very best, then the live performances will provide more than enough proof. This was a night that highlighted everything so special about live music, showcasing the importance of connecting as humans, being brought together by a common love for the escapism musical excellence can create. And musical excellence does not come much purer than The Darkness.
Ash
Before the rocky flamboyance of The Darkness we would be treated to a blistering set of gritty alt-rock by Northern Irish trio Ash. The Corn Exchange was packed out early for this set, greeting Ash with a rapturous response as they burst into set opener 'Goldfinger'. Lead vocalist Tim Wheeler guided the audience through the first of many singalong choruses during the set, backed up by the hard-hitting drums of Rick McMurray, and the slick basslines of Mark Hamilton. The trio then quickly transitioned into second song 'Angel Interceptor' at a relentless pace which would continue throughout their entire time on stage. They were a band of few words, choosing instead to let their music do the talking, and some talking it did!
The vast majority of the set was filled with Ash classics from the 90s and early 00s, with each track receiving its deserved fanfare. However there was still the opportunity to appreciate some of the band's more recent releases, with 2023's 'Braindead getting a showcase. This was followed not too shortly by a preview of their upcoming single 'Jump in the Line', a cover of the timeless Harry Belafonte track, set for release on April 2nd.
The set was brought to an end by riotous performances of 'Girl From Mars' and 'Burn Baby Burn', which cemented Ash as firm favourites with the Cambridge faithful. With the trio commanding the stage like the very best of bands, it is no surprise they're in the midst of a whole new era of brilliance
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