Producer, actor, rockstar. Embarking on his first tour with a rock band, Peter Capaldi is a testament that it’s never too late to follow your dreams. Dubbing it his ‘Farewell Tour’ due to his age and ‘dicky heart’, he took to the intimate stage of Oxford Street’s legendary 100 Club with the vigour of a much younger man.
Fellow Scot Zoe Graham warmed up the crowd. Her performance featured clear, pleasant vocals over an electro-pop backing. She explained that she was without her band due to the rising costs of touring and that she would be going back to pulling pints once she returned home, a frustrating reality for the majority of small artists in the current climate. Her personable charisma radiated from the stage. While explaining that her new album, TENT, would be available at the merch table, she remembered that she’d been too busy eating lasagne bites to actually lay the copies out.
Her closing song, Divine Feminine Energy, was the highlight of her performance, especially fitting on International Women’s Day.
Taking in the crowd during the interval, I was surprised to see a mixed bunch of the middle-aged and mullet-sporting hipsters in their early 20s (not sure where I fall in there). A visualisation of the breadth of Capaldi’s career, from ruthless Malcolm Tucker in the political comedy The Thick of It to the double-hearted Time Lord in Doctor Who.
The band took to the stage adorned in matching sequined Adidas shell suits, like a pre-apocalyptic rendition of The Jimmies in the recent Danny Boyle film 28 Years Later: Bone Temple. Soon to be followed by their leader, Capaldi, suited and booted.
Almost every song came with its own story, whether it be the sentimental Bin Night, in which he hopes his grandson will remember him, even if it’s just for taking the bins out (reminding the audience that they’ve paid money to see someone else’s grandad and should probably visit their own for free), or reminiscing about the local goths that haunted his neighbourhood in Weird and Beautiful, accompanied by a ripping guitar solo from Capaldi. It’s evident that life is his biggest inspiration. His acting theatrics enhanced his performance, using his movements and facial expressions to communicate the themes of each track even further.
As a whole, the band was tight and precise. However, the sound was too loud for such a small space, thankfully my earplugs came in clutch. The 100 Club has been hosting live music since the ’40s but was originally designed to be a restaurant. I’m guessing the pillar that blocks the centre of the stage was built with the restaurant in mind. Luckily, these little drawbacks did little to take away from the performance. The enjoyment was infectious, especially during the T. Rex/Oasis medley of All the Young Dudes and Don’t Look Back in Anger, and The Cure’s Friday, I’m in Love. These relics from Capaldi’s youth united the multi-generational audience, and no one could resist singing along.
Overall, I couldn’t have asked for a more wholesome, enjoyable gig to kick off 2026. The intimate setting was comfortable and fitting for the performance. I hope this tour isn’t Capaldi’s last, but if it is, he can safely say he’s done it, and done it well.
Set List
- Is It Today?
- It’s Not Over Until It’s Over
- Sweet Illusions
- Bin Night
- Beautiful and Weird
- Something to Behold
- Little Bit of Class
- Not Going Anywhere
- The Great Magnificence
- In Person
- Hollywood or Bust
- Through The Cracks
- All The Young Dudes / Don’t Look Back in Anger – cover
Encore
- It’s Friday, I’m in Love – cover
- No One in the World