Tonight was Rachel Stamp’s first full-band show since the loss of their legendary drummer Robin Guy, who sadly passed away from cancer last year. Heartbreakingly, his deputy Belle Star — who had also stepped in behind the kit on occasion — also died within months, making the band’s return to the stage feel all the more poignant. That this comeback was such a triumphant return to form was wonderful to witness, with Robin’s replacement Joe Holweger (who also plays alongside Will Crewsdon and Shaheena Dax in She Made Me Do It) taking up the drums.
Rachel Stamp @ 100 Club
Opening the night were The Gospel, a six-piece noir-gospel choir from Manchester featuring former members of The Courtesans and Curse Of Lono. From the start, their set felt like a spiritual experience. Burns Like A Fever swelled with organ flourishes and was powered by the dual drumming of Sinéad Bales and Danielle McCormack. Just You and I showcased all six voices in glorious harmony, with Jimmy Sweet’s Nick Cave-esque baritone cutting perfectly against the female vocals.
Their rendition of Lord Can You Hear Me (first made famous for me by Spacemen 3) was deeply moving, its gospel harmonies fronted by Aze Corleone and Saffire Sanchez. On Don’t Say Blood Again the voices rose even higher, raw and passionate. Then came a show-stopping Like A Prayer — a Madonna cover transformed into a genuine church moment. Jimmy Sweet left the stage for Unworthy, letting Charis Anderson and Sinéad Bales step up with powerful lead vocals.
A dedication of You’re The Only One to Robin Guy drew the room together in shared remembrance, turning the set into something resembling a rock & roll mass. The Pain cut deep with its insistent rhythm, but the overwhelming sense in the room was joy. They closed with Look What They’ve Done, a gloriously gothic finale that left us all feeling blessed to have witnessed The Gospel live.
After a short break, a packed 100 Club roared as Rachel Stamp took the stage. David Ryder Prangley spoke movingly about the difficulty of carrying on without his closest friend Robin Guy, before warmly welcoming Holweger as their new drummer. From the opening notes of Brand New Toy, it was clear this was a band reborn. David, resplendent in his see-through jumpsuit, was in commanding voice, while Will Crewsdon’s guitar sparkled. Dirty Bone followed with Holweger’s crisp, locked-in drumming driving it home — less flamboyant than Robin or Belle, but perfectly precise.
Rachel Stamp have always thrived on drama, and Shaheena Dax’s imperious keyboards added that trademark theatrical edge. The crowd sang along to I Got The Worm without hesitation, before Will poured heart and sorrow into Do Me In Once I’ll Be Sad, Do Me In Twice I’ll Know Better. Permanent Damage crackled with onstage chemistry as another doomed love story unfolded.
David introduced Strange Thing from their recent Scare Cities Volume One Bandcamp release — an unearthed demo that sounded like a lost classic, all Bolan boogie swagger and a killer chorus. They stayed with deep cuts for Tammy Machine from Stampax, Will digging into the groove with relish.
The fan favourites came thick and fast. Pink Skab — whose lyric inspired the title of their best-of compilation — had the entire crowd screaming along. Holweger was by now in full flight, powering I Wanna Be Your Doll with punch and precision. David shed his blouse and bass for Black Tambourine, shaking it with playful abandon. Take A Hold Of Yourself carried its cautionary weight, before Monsters Of The New Wave reminded us of the band’s tongue-in-cheek heavy metal ambitions. They closed the main set with their anthem My Sweet Rose, sounding as fresh as ever.
The encore began with Victory From Oceans Of Venus, and it felt entirely appropriate — this show really was a victory for Rachel Stamp and their fans. Black Cherry turned into a mass singalong, with the audience belting the chorus at full volume. Finally, Hey Hey Michael You’re Really Fantastic closed the night on a euphoric high, a reminder of just how many classic songs this cult band have in their arsenal.
Rachel Stamp may never have reached the mainstream success they deserved, but nights like this prove their enduring magic. After personal loss and years away, they returned not just intact but revitalised — still one of the most exciting, unpredictable, and heartfelt live bands around.
Live review of Rachel Stamp & The Gospel @ 100 Club, London by Simon Phillips on 20th September 2025. Photography by Louise Phillips.
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