Suede embraces resurgence with new biography highlighting remarkable evolution
“I couldn’t be more bored by talking about the 90s,” says Suede bassist Mat Osman, reflecting on the decade that established Britpop and saw his band rise to commercial prominence with hits like “Trash” and “Beautiful Ones,” reports BritPanorama.
Osman refers to a new biography by author Rodge Glass, As One: Remaking Suede, which departs from the band’s 90s success to explore Suede’s unexpected and impressive second act. The group, initially disbanded in 2003—an ending Osman described as a relief—returned to the music scene in 2010 for a Teenage Cancer Trust concert at the Royal Albert Hall, setting the stage for a productive revival.
Since their tentative reformation, Suede has released five albums, culminating in 2022’s Autofiction and the subsequent Antidepressants, both of which reached number two on the UK charts, showcasing the band’s evolution into a resilient post-punk-adjacent collective.
This resurgence has reinvigorated critical acclaim and visibility for the band, with Antidepressants receiving a Mercury Prize nomination last month—marking a 29-year gap since their last nomination. Keyboardist and guitarist Neil Codling acknowledged the recognition, noting that while they may be viewed as a legacy act, they are committed to moving forward creatively.
As One chronicles Suede’s journey from their initial rise, capturing critical moments such as their 1993 debut winning the Mercury Prize, the departure of guitarist Bernard Butler in 1994, and the challenges posed by Anderson’s struggles with addiction, which contributed to the band’s decline in quality during the late 90s.
After a disappointing reception for their 2002 album A New Morning, Suede’s determination to prove themselves has been pivotal. “Brett, in particular, really likes and needs to feel like he’s outside something and battling something,” Glass observes, noting the complexities in their dynamics.
Suede’s revival is distinct compared to other reformed bands, as evidenced by their organic progression and critical output. Glass, a long-time fan, initially approached Osman at a literary event to propose this biography because he recognized the depth of their story. He underscores that while he offers constructive critique, the narrative avoids hagiography.
“We didn’t want to course-correct,” Codling reflects on Glass’s approach. The author was afforded unprecedented access to the band over three years, allowing him to portray their genuine and earnest efforts to restore their creative energy, despite past struggles.
In promoting Antidepressants, Anderson emphasized the music’s restorative power, choosing not to disclose his own difficulties with addiction during that period. Osman expressed concerns about media sensationalism, arguing that the focus should rest on the significance of the music.
Internal communication issues among band members are a recurring theme in the biography. Codling admits that many insights came to light for them during the writing process, revealing a consistent struggle to articulate feelings and experiences.
Osman highlights the arduous process involved in making their album Night Thoughts, which tested the band’s limits. The book captures the evolution of their creative process and the importance of hard work behind their artistic successes.
Key decisions have driven Suede’s reinvention. They relied on producer Ed Buller’s insistence on clear creative roles, separating the tasks of music composition and lyrical writing among band members, which contributed to their distinctive sound.
Oakes’s untold story is particularly impactful in As One, revealing his battles with depression after the band’s breakup. Osman notes that Oakes’s immediate entry into the band as a replacement guitarist left little room for him to establish himself as a songwriter.
Notably, while Anderson remains intensely focused on the artistic aspects of the band, he has become more approachable and vulnerable in performances, aiming to connect authentically with the audience.
This shift underscores the directness of Anderson’s lyrics in recent albums, addressing themes of middle-aged anxieties and personal connections. The lead track “She Still Leads Me On” has resonated with fans, signifying that their renewed approach is having a genuine impact.
As Suede prepares for the potential of another Mercury Prize win, Osman acknowledges the ongoing journey of their recovery and growth. “We’re trying to build. The moment we think, ‘Everyone loves us. We’re great!’ it will all fall apart again,” he states.
‘As One: Remaking Suede‘ is published on Thursday by New Modern
