Live music remains the bedrock of the fan experience. Streaming and social media may have made music, and musicians, more accessible than ever, but the chemistry of a live concert is when everything feels real, and palpable. This year saw the live music sector come under more strain than ever, with venues across the land in dire need of support. For festivals, too, the huge rise of energy costs – and the cost-of-living biting on the pockets of fans – has made for a difficult climate.

Looking back on our favourite shows from 2024, we seek to honour the palpable electricity live music can provide, while also recognising the challenges this area faces. We recommend checking out the sterling work done by Music Venue Trust, for example, or peering through the shows offered by Independent Venue Week.

It’s only apt to look back as 2024 comes to a close. Here are our favourite shows from the past year.

—

Pa Salieu – The Garage, London 

Pa Salieu’s return was one of UK rap music’s key narratives in 2024. An incredible talent, his time away at His Majesty’s Pleasure silenced a bold voice. Since completing his sentence, Pa hasn’t put a foot wrong; each song, each video has been impactful, spotlighting the intensity of his search for truth.

When CLASH arrived at the Garage in North London, we weren’t sure what to expect. The air was heavy with expectation, with this show representing a moment of reunion between artist and fans. In the end, it was completed with the comprehensive ease of a true veteran; a stunning display of intent, it saw Pa visit highlights from his catalogue, while profiling his 2024 run. Backed by a full live band and clad in military chic, perhaps the highlight was a stunning, visceral and profoundly physical rendition of ‘My Family’. A master of his craft. Robin Murray

Janet Jackson – O2 Arena, London 

Jackson arrived in the capital with her first full-scale headline performance in thirteen years. The show paid homage to the ballroom, evident in the overblown costuming and lookalike dancers parading, leading and cajoling Jackson until she assumed form as the head of the troupe. Jackson didn’t treat the two-hour spectacle as a legacy experience reliant on her greatest hits, but an exploration of the deep cuts, namely the underrated, understated albums ‘Damita Jo’ and ‘Discipline’: ‘Rock With U’ into ‘Throb’ into ‘All Nite (Don’t Stop)’, a frenetically-timed reprieve positioned in the middle of the set, shone a light on the late career surge critics decried at the time as duds, but have since gone on to be received more warmly. 

Closing with the celebratory ‘Together Again’, you couldn’t help but feel that this tour was vindication for Janet Jackson. A much-needed victory lap from one of music’s most censored hitmakers. Shahzaib Hussain

IDLES – Alexandra Palace, London

As anyone who has seen Bristol’s hard rock softies can attest, IDLES put on one hell of a show. With that in mind, it’s no surprise to see their name included in CLASH’s Gigs of the Year, but their two sold-out shows at Ally Pally felt extra special. Now a world-touring, Jimmy Fallon-appearing institution, the lads’ brand of rage, empathy, and self-growth has hit the big time. Despite this, the Ally Pally shows felt like a homecoming, a multigenerational cathartic roar. Rarely has a band made such a vast space feel so intimate. Their constant commitment to harbouring community paid off; every word screamed along to in sweaty glee. The two-hour sets felt more like an endless encore. Sam Walker-Smart

Ezra Collective – Wembley Arena, London

Ezra Collective could never be accused of lacking ambition. Taking their music to the world, the band are part of a generation of UK jazz musicians who have shattered the glass ceiling. At first, they sold out clubs. Then bigger venues. Then… an arena?

Transforming the West London venue into something intimate, Ezra Collective brought outright joy to Wembley Arena. A totally sold-out experience, the band’s innate elasticity allowed them to stretch into these grand surroundings, while remaining tethered to their combined roots. A truly wonderful, often moving experience, witnessing the venue – from front to back, and then back again – radiant with such life and optimism left a deeply profound impact. Robin Murray

SPRINTS – Bodega, Nottingham 

A blazing set from SPRINTS off the back of their album in January saw the Irish post-punk heroes making the most of the power and building energy of their impressive catalogue of songs. Karla Chubb proved her brilliance as a front-person: casual yet hyper-engaged, her interludes were witty, wry and direct. Throughout, she ensured that the crowd was onboard and pleasantly rowdy right from the first drop in ‘Ticking’.

This was one of those gigs where all were left in awe by the time the music ended and the lights came up. SPRINTS had delivered a set packed with energy, showing real presence and togetherness, at times beating us into welcome submission, but always making time to share all their boundless joy. Neat, powerful and unforgettable, this was a trend-setting performance. Phil Taylor

Little Simz – Glastonbury Festival

It’s a funny thing with Simz. In spite of the BRIT haul, the Mercury win, there’s a feeling in some quarters that she remains underrated. Perhaps that’s due to the under-the-radar way she’s eased herself out of the ‘Sometimes I Might Be Introvert’ era; it may be down to the complexity of her music not quite translating to TikTok virality. What’s clear, is that her undeniable importance isn’t given its due.

Taking to the hallowed Pyramid Stage, Little Simz was given one of the weekend’s key slots, and smashed it. A stunning demonstration of her lyrical and musical prowess, she reaffirmed her status as a generational voice, drawing on the full force of her incredible decade-long catalogue. An undeniable highlight of the festival, it left you wondering when Worthy Farm are going to hand Simz a headline slot. Robin Murray

Mk.gee – Electric Brixton, London

I caught the New Jersey native twice this year: a rough and ready first round at EartH in Hackney and an upgraded Electric Brixton show eight months later. That both shows took place in less than a year conveyed a meteoric rise of a reluctant guitar hero. Concealed in shadows, occasionally burnished by white light, the virtuosic strummer had a packed-to-the-rafters crowd entranced with pirouetting lyrical solo passages, and soft, smothered palm muting.

At once flamboyant, close and intimate, those lucky enough to be present at one of three sold-out Brixton showcases, witnessed Mk.gee singing his heartbreak, sorrow and embrace of deafening fanfare so nakedly. A night to remember. Shahzaib Hussain

Liam Gallagher – Utilita Arena, Cardiff 

Cast your mind back, if you can, to a different world. For eight months of the year, the most exciting Oasis-related news was Liam Gallagher performing the seminal debut ‘Definitely Maybe’ in full, along with accompanying B-sides. And it was tremendously exciting at the second show in Cardiff, despite being a Monday night. There were young adults not born in 1994 singing their hearts out. The album is stacked with classics, all duly delivered with gusto, but it was the B-sides that live long in the memory. Seeing Liam Gallagher and Bonehead perform ‘I Will Believe’ in 2024 was one of the year’s great gifts. Richard Bowes

Nick Cave & The Bad Seeds – OVO Hydro, Glasgow

‘Ethereal’ perfectly sums up the Nick Cave of modern times. While traces of his past – the post-punk racket merchant – still linger via DNA, a Bad Seeds performance now delivers more in the way of a rock and roll sermon. Cave’s commanding presence, genuine theatrical drama intact, has evolved into a blend of raw, prophetic vulnerability to bring one’s soul to deliverance. This creates a magnetic connection with the audience, transforming the experience into something profound and visceral. 

Nick Cave & The Bad Seeds performances have become cathartic explorations of love, loss, and, in his case, the ability to come out the other side. Thrash around or seek solace in catharsis. It’s up to you. 2024 at Glasgow’s Hydro was no exception; delivering joy, sorrow, and everything in between with such overwhelming emotional weight that it reduced me to tears. Viola. Ray Jackson

Frank Carter + Sex Pistols – Bush Hall, London 

How to solve a problem like John Lydon? You circumnavigate it by recruiting one of his many disciples. While it may be a stretch to say that Lydon wasn’t missed, Frank Carter channelled his spirit but was so much more than a tribute. Yet the main draw was undeniably the three quarters of the group. The adage about Steve Jones’s guitar playing (oft-imitated, never bettered) remains, Glen Matlock oozed cool and Paul Cook rolled back the years. Best of all, it was for a good cause (saving the venue) and seeing the Sex Pistols as nature intended, in the confines of a sweaty pub back room. John who? Richard Bowes

—