The Saints Set Camden Alight with Blistering ‘70s Retrospective

THE SAINTS ‘73-’78 + CHIMERS @ CAMDEN ELECTRIC BALLROOM – 26TH NOVEMBER 2025

As their name suggests, the current iteration of The Saints roll into Camden’s Electric Ballroom to celebrate their iconic work from the 1970s. Their current line-up is undeniably stellar. Alongside original members Ivor Hay on drums and Ed Kuepper on lead guitar, the band features Mark Arm from Mudhoney on vocals, Mick Harvey (formerly of The Birthday Party and The Bad Seeds) on guitar and keyboards, and Peter Oxley of the Sunnyboys on bass.

Before we can discover whether this line-up will enhance The Saints’ legend or risk tarnishing it, we have Chimers attempting to blow us away as the support act. They’re an Australian duo who may invite comparisons with The White Stripes. If so, I must say that drummer Binx is considerably better than Meg White, with real swing in addition to belting power. Guitarist and singer Padraic Skehan (Irish-born, Aussie-raised) plays a Gibson SG with a Bigsby tremolo that I openly covet.

Chimers clearly aim to cram as many songs into their slot as possible, barely pausing between numbers. Padraic fluffs the intro to Glossary but laughs it off, nailing it the second time around. Binx takes lead vocals on Later Skater, though it could sit higher in the mix as Padraic causes aural chaos with his pedals. Timber opens with an almost tribal drum pattern, while during People Listen (To The Radio), the duo are joined by saxophone and trumpet players from tonight’s headliners, adding avant-garde textures. They close with 3am, with Binx reclaiming the vocal lead halfway through.

Much of the set is drawn from their excellent Through Today album, released last year. It’s impressive enough that I may well purchase a copy.

However good Chimers are, we’re here for The Saints ‘73–’78, and they deliver exactly what the label promises. Everything played tonight comes from their first three albums — perhaps making The Saints ‘77–’78 a more accurate title, though many of the songs were written earlier. The band walk on to music with a distinctly Cossack flavour. Why? No idea, but it indeed turns heads.

Mick Harvey supplies rhythm guitar via a semi-acoustic Telecaster while Ed Kuepper shoulders the lead work, exploding from the opening track, Swing For The Crime. The brass section initially feels unexpected, but settles seamlessly into place before long.

Mark Arm’s vocals are superb. He performs as a singer rather than a showman — no theatrics, no grandstanding — with Ed Kuepper handling crowd interaction. For a group of older gentlemen, they rock like hell, sounding like a younger version of the original band and quite possibly capable of outrunning them.

Peter Oxley impresses with nimble bass runs. Songs like Memories Are Made of This epitomise rock ‘n’ roll: dirty, dangerous, and irresistible. Ed amuses the crowd by calling Brisbane (Security City) “from the latest record.” Technically true — it’s from the last album covered by tonight’s remit.

Ed warns us we’re in for “a little romantic tune” before launching into Story of Love, romantic only in a fractured kind of way. Mick Harvey swaps to keyboards for a brooding rendering of The Prisoner, darting back to guitar whenever required. A crew member joins the band on harmonica for Run Down — an instrument I once tried myself, to disastrous effect.

Messin’ With The Kid morphs into a sprawling, brass-heavy ballad, while (I’m) Stranded signals the home stretch — a barnstormer that most of the audience films. Put your phones down and live in the moment!!! Know Your Product closes the main set, sounding like a punked-up soul workout — because, frankly, it always has.

The encore arrives swiftly. (I’m) Misunderstood is pure, unfiltered rock ‘n’ roll, reinforcing just how respectfully this line-up treats the band’s legacy. All Times Through Paradise surprises with a 5/4 rhythm, reminding us that The Saints were never merely a thrashy punk outfit. Demolition Girl restores the pace, leaving room for one final classic: Nights In Venice, complete with guitar and sax solos and more avant-garde brass.

This has been an awesomely faultless performance from start to finish — utterly gobsmacking. The only question now is: what’s next? I’d love to see The Saints ‘73–’78 tearing up festivals next summer, especially Rebellion in Blackpool. How about it, gentlemen?

WORDS: MARK KELLY PHOTOS: CRIS WATKINS