While Bruce Foxton’s legendary tenure in The Jam inevitably defines his career, his overlooked solo work—most notably the 1984 album Touch Sensitive—deserves its own recognition. Dusting off the vinyl, youthful memories come flooding back the moment the needle hits the grooves. This pre-gig immersion, reacquainting myself with the depth of Foxton’s catalog, is time well spent. The evening commenced with Chris Difford of Squeeze, who delivered a set focused on lyrical craftsmanship rather than vocal range. Positioned somewhat inexplicably on the far left-hand side of the stage, Difford was accompanied by a lead guitarist and a slide guitarist. The trio opened with "Take Me I’m Yours," establishing a minimalist tone that relied on the strength of the songwriting. While Difford’s vocal delivery remains modest, his performance of Squeeze classics and hilarious recollections provided the perfect warm-up for the main event.
Foxton took the stage flanked by seasoned professionals, including Mark Brzezicki of Big Country on percussion. Their professional link dates back to the early 1980s when Big Country supported The Jam at Wembley Arena—my first ever gig. Andy Fairclough handled keyboards, while long time From The Jam collaborator Russell Hastings provided the vocal and guitar work necessary to replicate that aggressive, melodic sound. A glance at the merchandise stand, offering only a single "From The Jam" t-shirt, made the evening's intentions clear. "That’s Entertainment" and "The Butterfly Collector" were executed with precision, while "Strange Town" and "Down in the Tube Station at Midnight" elicited a roar from the capacity crowd. Foxton took center stage for "Smithers-Jones," a track that remains a significant songwriting contribution.
Foxton’s performance style remains largely unchanged; his bass playing is characterized by a vibrant, pumping technicality and a physical stage presence that served as a template for all who followed. Billed as a Bruce Foxton show the absence of solo material felt like a missed opportunity. Re-evaluating tracks like "Freak" or "This Is The Way" would have added a welcome timestamp to the night. The Jam’s cross-generational appeal was evident in the audience, with seventeen-year-old Matthew Cartlidge of The Molotovs representing the latest wave of musicians influenced by the mod-revival. At seventy, Foxton remains a technically proficient bassist and capable vocalist, closing with the classic "Eton Rifles". "Town Called Malice" was another highlight, that bass line is one of the most instantly recognizable in history. Foxton’s role in that legacy was not merely supportive but foundational. He may not realize how vital he remains, but the crowd was all too aware of his mastery. As the tour moves around the UK it's a show not to be missed.
Setlist
That's Entertainment
In the City
Start
Down in the Tube Station at Midnight
David Watts
Smithers-Jones
All Around the World
Strange Town
English Rose
'A' Bomb in Wardour Street
In the Midnight Hour
The Modern World
The Butterfly Collector
Funeral Pyre
Town Called Malice
Pretty Green
Going Underground
Encore:
The Eton Rifles
