Montgomery, Alabama native Tyler Braden is, he says, a “Birming-ham” college alumnni (“I can’t believe they said it wrong,” he quipped with a grin) but tonight he simply captivated the crowd in the UK’s second city with three chords and his truth.
Kicking things off with “Me or the Dawn,” Braden set the tone for the evening with a raw, ragged energy. If this is country music, it’s straight from the backroads, drenched in southern rock swagger. The guitar-driven “More Than a Prayer” followed, its tale of heartbreak buoyed by Dan Crockett’s electrifying lead.
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Braden’s set wasn’t just about storytelling; it carried a powerful message. Dedicating “Call Me First” to men’s mental health,. It was a poignant moment that grounded the high-octane performance in something deeply personal.
With songs like “Thank Me For That,” Braden showcased his knack for crafting anthems, his gravelly voice perfectly suited to the southern rock sound. And speaking of singing the Proclaimers’ “500 Miles” into a Tennessee-tinged singalong, getting 2,000 Brummies to join in. His rendition of Elvis’ “(You’re The) Devil In Disguise” had a similar effect, complete with a touch of southern hot sauce.
Still, it was his originals that truly stood out. “So Long” sparkled amidst a stellar setlist, and he closed with his latest single, “Devil You Know,” has one of those choruses.
Tyler Braden is more than just a support act—he’s a star in the making. Mark your calendars; in two years, he’ll be back on this side of the pond, headlining. This is what he was born to do.
After four songs, there’s a brief pause, and TJ Osborne acknowledges the crowd: “We’ve come over year after year and watched this grow.” It’s been nearly seven years since MV first saw them and confidently predicted, “They are headed for an arena near you in the near future, that’s for damn sure.”
Fast forward an hour and before the encore, the crowd has serenaded them with the intro to “Ain’t My Fault,” but first, “Might As Well Be Me” welcomes them back like returning heroes. They’re electric and they’ve got the crowd with them.
They’re a band with a message, too—”Nobody’s Nobody” underlines that perfectly. Positivity reigns throughout.
Other than that, there’s no real trick to it. TJ Osborne was made to front a rock band, while John, ever the cowboy, lets his guitar licks drip with Southern swagger. “Shoot Me Straight” is all kinds of fun, carrying a mischievous streak, and the solo at the end proves they can be whatever they want.
There’s a darker, more primal blues feel to “Skeletons,” yet by the end, it still has the spirit of a Baptist revival.
Current single “Break Mine” is pop fun, while “Weed, Whiskey and Willie” brings a soulful, laid-back moment. Confidence has never been an issue for these two, but even so, it takes a proper set of stones to drop “Won’t Back Down” into the middle of the set.
They’ve always had a knack for tongue-in-cheek anthems, but “I’m Not For Everyone” stands out even among them—wonderful, self-aware, and trust me, they are far better than just a “b-side Townes Van Zandt.”
And Christ on a bike, can they write a chorus? “Stay A Little Longer” is a clear fan favourite and a word for the touring band—they’re exceptional.
That song feels like a centrepiece, and the jam on “Three Little Birds” nails the carefree vibe (even if your humble scribe isn’t exactly a reggae fan). Fortunately, John Osborne ripping a slide solo just about makes up for it—especially as it leads seamlessly into “Run,” bringing a little sunshine to a wet January night.
They know how to work a crowd. Their cover of “Burning Man” shines, though not quite as brightly as “Ain’t My Fault,” their ultimate moment. Bathed in spotlights, the brothers know it too. They make it an epic, keyboardist Johnny Smith unleashes a stunning organ solo, and John Osborne, on lead, may have just delivered his finest work.
For the encore, John takes the stage alone for a rendition of “Blackbird.” Even when the band rejoins him, “21 Summer” keeps the laid-back energy intact.
They even switch up the setlist for a couple from California celebrating their 25th anniversary, and “Pushing Up Daisies (Love Alive)” clearly holds special meaning for them.
But the handbrake needs to come off one last time—and it does—for the brilliant “Dead Man’s Curve,” their signature closing number. As always, they deliver a show of class and quality, proving once again that they have total command of the stage.
They still seem destined for arenas. After selling out this venue twice in a row, the next step feels inevitable—and they’re more than ready for it.
