0121, Do One!
Just over a decade ago, the Digbeth area of Birmingham became the epicentre of a musical explosion. At the heart of the movement were four definitive bands: Swim Deep, JAWS, Superfood, and Peace. While the "B-Town" moniker was arguably a product of lazy journalism, stitching these artists together simply because they hailed from the Second City, the scene itself was undeniable.
By 2013, Birmingham was churning out some of the most exciting new music in the country. It was a golden era of indie anthems that resonated with a fresh generation of guitar music fans, many of whom had been primed for this sound by the release of Arctic Monkeys 'AM' that same year. Yet, even as the movement entered the British mainstream, it remained deeply rooted in its hometown.
Unlike manufactured scenes created by the press, B-Town was built on genuine connection. These bands didn't just share a zip code; they were friends. They grew up together, lived near one another, and cut their teeth playing the same pubs, clubs, and house parties across Birmingham.
The musical output was stellar. Peace, in particular, forced the UK indie scene to take notice with tracks like 'Bloodshake' and 'Follow Baby'. Their debut album, 'In Love', soon followed, a record the NME aptly described as a "headrush of love and romance."
'In Love' is a collection of indie gems. With tracks like 'Lovesick' and 'California Daze', the band wasn't necessarily reinventing the wheel, but they didn't need to. The songwriting is brilliant: quick, witty, and soulful. It was a record made for a new generation of music fans, for the band’s own circle of friends, and, above all, for their city.
As Eve Barlow wrote in the NME:
"As Britain suffers from youth unemployment and economic crisis, our greatest currency is the chime of a golden tune. Peace has delivered 10 of them. So what if they’re a bunch of pirates and not pioneers? This is their time."
The "difficult second album" never materialised for Peace. Instead, they returned two years later with 2015’s 'Happy People'. The record reinforced their status as one of the country's brightest indie sparks, blending infectious pop hooks with a sharp sense of teenage anxiety, the perfect recipe for a new wave of anthems.
With standout tracks like 'World Pleasure' and 'Lost On Me' ensuring the band was here to stay, 'Happy People' solidified its place as a modern indie classic packed with gigantic songs. It was a record that captured the sun-drenched optimism of the B-Town era while proving the band had the depth to evolve beyond the initial hype. By the time they reached 'Gen Strange', Peace proved that they were not just the torch bearers of the Birmingham indie scene but one of the best bands in the country.
As the band moved up to bigger stages and higher slots on festival lineups, Peace became the primary torchbearers for Birmingham, but they weren’t carrying the flame alone. As the Beatles once sang, they 'With A Little Help From My Friends'.
Chief among those friends were Swim Deep, who released their debut album 'Where the Heaven Are We' in 2013. While it didn’t garner the same level of critical weight as Peace’s debut, it remains a brilliant collection of indie-pop. Tracks like 'Honey' and 'King City' introduced a more synth-heavy, commercial shimmer to the B-Town sound, leading Swim Deep to become the first act of the scene to sign with a major label.
The band weren't, and still aren't, afraid to embrace a pop sheen, and they are exceptionally good at it. Songs like 'King City', 'Honey', and 'She Changes the Weather' eventually transcended the scene to become 2010s staples, soundtracking everything from sweaty nights at Snobs to national TV adverts.
In 2015, they took a daring leap with their second album, 'Mothers'. It was a complete gear shift that saw the band exploring sprawling textures and the unexpected influence of Acid House. This evolution won over critics and fans alike, and after a high-profile US tour supporting The 1975, Swim Deep returned to the UK to headline increasingly massive stages. Alongside their mates in Peace, they had transitioned from local favourites to true pioneers of a nationwide movement.
Often viewed as the younger brothers of the B-Town movement, JAWS initially sat on the fringes of the scene’s two heavyweights. However, it wasn't long before they carved out their own breakthrough, trading the sun-drenched pop of their peers for a darker, more shoegaze-inflected sound.
Many of us first encountered JAWS through tracks like 'Just a Boy' and 'Right in Front of Me'. They became an essential band for a specific chapter of our lives; those records are inextricably linked to that transition of leaving school and starting Sixth Form.
Musically, JAWS were louder and more brash, sharing more DNA with Foals than Franz Ferdinand. Their sound was fueled by heavier rock influences, a sharp contrast to the indie and dance leanings of Swim Deep and Peace. Perhaps that edge meant they didn't reach the same dizzying commercial heights as the others, but that is exactly what makes them so significant; they still feel like they belong to us.
Across three very strong albums, they have built a catalogue of underrated gems. Their second record, 'Simplicity', is a standout, a "grunge-infested, kicking and screaming juggernaut" that easily ranks alongside the very best indie albums of the decade.
As the 2010s drew to a close, both Swim Deep and Peace returned with new material, but it was Swim Deep’s 2019 offering, 'Emerald Classics', that felt particularly poignant. Named after a local Birmingham haunt, The Emerald, the album was forged in the fires of adversity; the band had been dropped by their label and had recently navigated the departure of two founding members.
In response to these challenges, the band sought comfort in the familiar. They described 'Emerald Classics' as having the soul of a pub jukebox, the kind found in a place where everyone knows your name. This theme of home and belonging runs through the heart of the record, capturing the spirit of the city that birthed them.
The track 'To Feel Good' is the perfect distillation of this sentiment. It takes listeners back to a time before the hype, with Austin Williams recounting his life as an 18-year-old "paperweight cruiser" and "heavyweight loser," signing on at the Jobcentre and running errands for his mum. It’s a track that trades indie-pop escapism for raw, gritty realism, spoken over a gospel-tinged backdrop that feels like a collective exhale.
By stripping away the industry pressure and returning to their roots, Swim Deep managed to turn a period of crisis into a creative triumph. They proved that they didn't need the backing of a major label to define their sound; they just needed the honesty of their own experiences. It remains arguably their most grounded and sincere record to date, a love letter to the mundanity and the magic of everyday life in the Midlands.
In 2018, Peace made a breathtaking return with 'Kindness is the New Rock and Roll'. Always a band with something to say, they placed their core beliefs and messages at the very centre of this record. While 2015's 'Perfect Skin' had focused on personal insecurity, this new era saw the band becoming more outspoken than ever before.
Peace effectively became the voice of a generation, tackling heavy themes ranging from politics and mental health to the refugee crisis. Nowhere is this maturity more evident than on 'From Under Liquid Glass'. It is arguably the best thing they have ever recorded, a deeply vulnerable track that ascends into a heartbreaking yet euphoric chorus.
It is the sound of a band at the absolute top of their game. Having built their reputation on fizzing anthems like 'Bloodshake', designed for flinging yourself into a sweaty mass of bodies, Peace proved they could do more: they wrote an album for the ages. It was a record that traded the neon-soaked chaos of their early years for a more profound, expansive warmth, showing that "kindness" wasn't just a title, it was a new philosophy for a band that had truly grown up with its audience.
That brings us to the here and now. First things first: Swim Deep and Peace are both still going strong, though we sadly said goodbye to JAWS, who called it a day in April 2025. While Peace has evolved into a duo, Harrison and Samuel Koisser haven’t missed a beat; they’ve recently returned with 'Utopia', a track that proves their knack for massive, era-defining melodies is as sharp as ever. This new era has been bolstered by tracks like 'Good Jeans', 'Happy Cars', and 'Masterpiece', which remind us exactly why we fell in love with their sound in the first place, balancing that signature wit with a refined, elevated energy.
Swim Deep are also entering an exciting new chapter. Their latest album, 'There’s a Big Star Outside', shows a band that has matured without losing that signature magic. It’s a record that feels expansive and self-assured, featuring standout moments like 'How Many Love Songs Have Died in Vegas' and 'First Song', which anchor the album in a sophisticated, cinematic landscape.
A perfect example of this evolution is their brilliant, dreamy new single 'Pieces of You', which captures that classic Swim Deep shimmer while feeling entirely fresh. This was far from a flash in the pan; these bands aren't just surviving, they are still creating some of the most vital music of our time.
So, why write about this scene now? I grew up 22 miles outside of Birmingham, hearing about these bands from just down the road through mates and local musicians. It was a scene we caught the tail end of, but its legacy is being carried forward by bands like Sugarthief and The Clause, who are keeping the fire burning with fresh indie anthems.
The Clause finally arrived last year with their debut album, 'Victim of a Casual Thing'. It has been described as "the soundtrack of four mates growing up together", a nifty sentence that perfectly sums up the record. It’s a statement of identity and intent, proving they can craft arena-ready anthems and lovestruck bangers for a new generation.
After breaking through with 'Sixteen' in 2017, their journey has taken them through muddy festivals and support slots with the likes of The Snuts and DMA’s. This record is the culmination of that graft.
Gemini said'Victim of a Casual Thing' kicks the door down with 'Nothing’s As It Seems', a massive anthem that perfectly balances self-pity with Brummie bravado. From the dancefloor-ready funk of 'Tell Me What You Want' to the jagged, restless energy of 'White Lifelines', which feels like a long-lost nod to 'Favourite Worst Nightmare', the first half of the record is a masterclass in controlled chaos. Even when they lean into nostalgia on tracks like 'Elisha', a gritty tale of romance behind a Leeds Wetherspoons, it feels like a necessary tribute to the roots that built them.
However, Side B is where the record truly transforms from a good album into a great one. 'Exception' provides a breathtakingly reflective moment, but it’s the heavy hitters like 'Weekend Millionaire' and 'I Don’t Care' that define the band's mission statement. These are love letters to payday Fridays and the stubborn refusal to grow up, bottling the essence of youthful excess into some of the best songs to come out of Birmingham in years. By the time the final rallying cry of 'Don’t Blink' rings out, painting a vivid picture of the "brass kids" and "could-have-beens" of their hometown, it's clear that The Clause aren't just here to make up the numbers; they are here to take over
Being at Sixth Form and soundtracking our days with Superfood’s 'Mood Bomb' and 'I Can't See', alongside the hazy grit of JAWS’ 'Right in Front of Me', was what first led me to explore these records. It wasn't just background noise; it was an essential chapter of my musical upbringing. I wasn't around for the height of Madchester, and I was too young for the mid-2000s indie explosion, so this was the first time we felt truly connected to a movement as it was happening. It felt like it belonged to us.
The reach of this scene went far beyond the Birmingham city limits, too. I remember being in Amsterdam in June 2023, just before a Blur concert, and getting into a massive conversation about Peace and The Clause with a group of lads from Stockport. Even hundreds of miles from home, the influence of these bands was the common ground. It’s a testament to the fact that B-Town and the bands it inspired aren't just local trivia; they are a vital part of the musical story for our entire generation.
Here's My B-Town Best Playlist
https://open.spotify.com/playlist/2rY2tFeMZrWUPDAASNF4kn?si=b34dd3fa0e484cd7
As always, thank you for reading x