When Kiefer Sutherland strode onto the stage at Norwich’s Adrian Flux Waterfront, the response from the packed crowd was immediate and thunderous. There was no slow build into the evening: Sutherland and his outstanding band launched straight into Down Below with pounding drums from Phil Wilson and the first flashes of the twin-guitar brilliance that would define the night. Chris Hillman, initially on pedal steel, drew out rich, cinematic notes while Ashley Wilson fired out a searing electric guitar solo. From the outset, this felt less like an actor indulging a musical side project and more like a seasoned road band revelling in the power and freedom of live rock ’n’ roll. Over the course of a dynamic, high-energy set, Sutherland proved himself to be a genuinely compelling frontman with a voice perfectly suited to americana and roots-rock: gritty and weathered when required, clean and melodic elsewhere, but always distinctive and full of character.
Before the main event, support act Colin Andrew warmed up the room superbly. By the time he took to the stage, the venue was already packed and buzzing with anticipation. Andrew immediately leaned into the atmosphere, joking about the cold and encouraging the audience to “Clap your fucking hands!” if they were freezing. His opening song, Not So Innocent, was bright and upbeat, setting the tone for what followed. A crowd-pleasing cover of The Kinks’ Sunny Afternoon – chosen because of its connection to Dave Davies and Norwich – had the audience singing along loudly, while original songs such as One Way Down and Corfu showcased his confident stage presence and melodic songwriting. Introducing Corfu, he joked that his girlfriend had instructed him to sell merchandise, “Or it’s over,” before playfully offering stickers to silence those talking over the music: “This room is for music and loving and good times.” Despite performing solo with just an acoustic guitar, Andrew commanded the room impressively, displaying plenty of charisma and throwing himself fully into the songs. By the time he closed with the upbeat Still Waiting, declaring that the crowd were “In for a treat,” with “…a proper rock show,” to come, the audience was fully primed.
Sutherland’s set balanced swaggering rockers with more reflective americana storytelling, but even the quieter moments carried enormous weight thanks to the strength of the band behind him. I’m Only Happy When It Rains showcased the dazzling interplay between Ashley Wilson and Chris Hillman, whose harmonising lead guitars often evoked the classic power and grandeur of Thin Lizzy. Throughout the night, the pair were extraordinary together, weaving intricate lines around one another while constantly elevating the songs. Hillman, who alternated between electric guitar and ethereal pedal steel, was particularly mesmerising. His elongated, swooning steel notes added emotional depth and atmosphere to the performance, especially during slower songs where his playing seemed to hover above the band like drifting starlight.
One of the evening’s finest moments came with Come Back Down, which Sutherland introduced as a personal favourite despite the common songwriter claim that choosing favourite songs is, “Like choosing your favourite child.” The pace slowed dramatically as Hillman’s pedal steel unfurled in long, cosmic waves beneath Sutherland’s hushed storytelling vocal. The steel guitar sounded almost unearthly, its rising notes hanging in the air like desert stars, while the entire room seemed to fall silent around the performance. It was a striking reminder that beneath the rock ’n’ roll energy, Sutherland’s songwriting carries genuine emotional sincerity and warmth.
That sincerity also shone through on Chasing the Rain, another major highlight. Sutherland explained how much he loves making records with friends, but admitted that nothing had prepared him for the joy of playing live for audiences. The song, inspired by touring life itself, captured that sense of movement and connection beautifully. Here, his voice became cleaner and more melodic, rising over slow, powerful snare hits before the song burst back into life with crashing instrumentation. The crowd response throughout the set was huge, but songs like this revealed why: Sutherland’s enthusiasm for performing felt utterly genuine. Whatever preconceptions people may have arrived with about a Hollywood actor fronting a roots-rock band quickly disappeared. Watching him move around the stage, smiling, weaving between monitors, throwing himself into the songs, it genuinely felt as though this was what he had always been meant to do.
The newer material from latest album, Grey, was especially strong. American Farmer, reminiscent of some of Springsteen’s quieter, storytelling folk narratives, was introduced with reflections on moving from California to an East Coast farming community and witnessing the struggles faced by independent farmers. The song unfolded slowly and thoughtfully, Sutherland’s weary vocal carrying lines about being “Tired of being tired,” while bright, elongated guitar phrases cut through the arrangement. It was heartfelt and deeply human without ever feeling forced. Elsewhere, Something You Love and See You on the Other Side leaned more heavily into the atmospheric possibilities of Hillman’s pedal steel, while This Is How It’s Done delivered driving, fast-paced rock ’n’ roll full of jangling guitars and pounding drums.
As the night progressed, the band seemed to grow even more powerful and locked in together. Down in a Hole thundered with distorted, chugging, chopping guitar and pummelling drums, while Friday Night found the whole room clapping above their heads as Chris Hillman unleashed another dazzling high-neck solo. By the time the main set closed with Agave, Sutherland had abandoned his guitar entirely and was dancing across the stage with infectious joy, completely immersed in the performance. The rhythm section drove everything forward relentlessly while Ashley Wilson’s electric guitar work remained consistently sensational throughout.
The encore pushed things even further. A dramatic cover of In the Air Tonight opened with swirling guitars, slow-building drums and Hillman’s haunting pedal steel floating across the venue. Though unmistakably the Phil Collins classic, the band transformed it into something darker, slower and more cinematic; an anthemic centrepiece that felt entirely their own. Closing song, Starlight, brought the evening to a mesmerising conclusion. Hillman’s low pedal steel notes formed the emotional core of the song while Ashley Wilson delivered a gorgeous extended solo, his hands gliding effortlessly up the neck as the notes spiralled higher and higher. The band filled the Waterfront with immense sound: layered guitars, rolling percussion, melodic bass from Roger Inniss, and all the power and drama of classic rock refracted through americana storytelling.
What made the evening so memorable was not simply the musicianship – though that was exceptional throughout – but the sense of joy radiating from the stage. Sutherland repeatedly spoke about how much he loves touring and playing for audiences, and every second of the performance reinforced that passion. This was not a celebrity hobby or nostalgia. It was a full-blooded, emotionally committed rock ’n’ roll show delivered by a performer who has clearly found exactly where he belongs. If anything, the biggest surprise of the evening was just how convincing and thrilling Kiefer Sutherland proved to be as a live musician. Outstanding from start to finish.
Photo credit: Andrew Frolish
Photo credit: Andrew Frolish
