PETER CAPALDI: POST-PUNK TIME LORD STRIKES A CHORD IN LEEDS
LIVE REVIEW | PETER CAPALDI w/ Zoe Graham | BRUDENELL SOCIAL CLUB, LEEDS | 1st March 2026 by Gracie Erskine
Whilst Peter Capaldi’s typical image as a savior may be a tad more sonic, Sunday night at Leeds Brudenell Social Club, was nothing short of electric.
For those who may find the Scotsman’s name more accustomed to an abrasive and crude politician, a time travelling mad man, or even a metahuman geneticist; please leave all presumptions behind as Capaldi is, well and truly, rock and roll. The release of his sophomore album Sweet Illusions in 2025 came four years post his first official music endeavour, St. Christopher in 2021. Whilst Sweet Illusions may have struck the chord for a UK tour; it isn’t the first time the Glaswegian has took to the stage. In the picturesque scene of 70’s Glasgow, a post-punk Capaldi was hitting the local pubs in his student days. And whilst his musical fingers may not have lingered there, Sunday evening was evident they never left.
A peculiar crowd steadily compressed themselves into the room, a pick and mix between Doctor Who fans adorning the show’s merch, and those intrigued by the prospect of how the household name would grace the room. The sardined crowd however, supplied great attention to fellow Scot, Zoe Graham, whose raw and intimate electro folk spelled the room.
Graham exposed her candid tales of therapy with catchy hooks and audience participation of barking that even Dogs Trust would’ve turned their heads at. The singer-songwriter’s hooking style was only accentuated by her frank Scottish humour in form of her anecdotes that intertwined her musical capability with her likeability.
Now, nothing says rising rockstar quite like a band fashioning sparkling Adidas tracksuits, now does it? Capaldi also thought as much. A striking choice that could only be upstaged by Capaldi’s ruffle trim, dazzling decadence of a suit. Inherently 70’s, inherently Bowie, and the Stardust nods don’t stop there. The post-punk time lord was lightning, grasping, and clawing with the air. His jolts and beckoning demeanour showcased his theatrics – which felt utterly sidelined to any previous knowledge of the star. Intermittently, Capaldi donned his shades, which regardless of his talent, makes him rock and roll, right?
From the catalyst punches of ‘Is It Today?’ and ‘It’s Not Over Until It’s Over’, Capaldi’s fire dominoed bursting heads through the crowd. Whilst the Scotsman dwelled on the fear of impending death momentarily, stating how regardless of this being his debut tour it was called ‘The Farewell Tour’ because, “you never know“. But the mad man brought so much life to the room. A youthful energy that may have intersected with some back-cradling shoulder jigs- but groovy moves nontheless. The dating and trendiness of a mans jive can never be questioned, particularly if you’re following with an impromptu Suicide cover. One of three that evening, if you can count the ‘All The Young Dudes’, ‘Don’t Look Back In Anger’, Macbeth remix as one – a certified crowd-pleaser. On the hopes that this is not a farewell tour, suggestions may have to come in the form of a Hamlet x ‘Morning Glory’ mashup for the next circuit.
Post the world-fastest encore, no room to shout “ONE MORE SONG” (enough to go ‘Oh, Peter Capaldi’- you know the tune), the band returned. A cathartic rendition of The Cure’s ‘Friday, I’m In Love’ followed by ‘No One In The World’, cemented Capaldi’s right as a rockstar.
Regardless of the road the crowd took to discovering Peter Capaldi’s music, they left with pleasure of witnessing a passion, love, and skill that has spanned decades. Whether it was seen creeping into sci-fi scenes as the Doctor strutted the Tardis with a stratcaster, or a jolly hum as a rabbit in Christopher Robin, Capaldi’s musical touch through his career finally ascended to a crowd in awe, in a trendy dive in Leeds.
