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Opening track from Surfer Rosa, released March 1988, “Bone Machine” introduced Pixies’s raw, abrasive sound. Written by Black Francis, it set the tone for the band’s early work and their dynamic loud-quiet style.

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Opening a new chapter in 1993, “Serve the Servants” saw Nirvana set the tone for their final studio album, appearing on In Utero, released September 1993. The track captures the band’s raw, stripped back sound at the height of their creative tension.

Opening a new chapter in 1993, “Serve the Servants” saw Nirvana set the tone for their final studio album, appearing on In Utero, released September 1993. The track captures the band’s raw, stripped back sound at the height of their creative tension.

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Recorded for the band’s debut album Bleach, “Love Buzz” was released in 1988 as Nirvana’s first single on the Sub Pop label. Written by Dutch band Shocking Blue, the track became an early calling card for Kurt Cobain’s raw vocals and the group’s heavy, sludgy sound before their mainstream breakthrough. Though it did not chart on release, the song later gained cult status as a snapshot of Nirvana’s pre-Nevermind era, capturing the band at their most abrasive and unpolished.

Recorded for the band’s debut album Bleach, “Love Buzz” was released in 1988 as Nirvana’s first single on the Sub Pop label. Written by Dutch band Shocking Blue, the track became an early calling card for Kurt Cobain’s raw vocals and the group’s heavy, sludgy sound before their mainstream breakthrough. Though it did not chart on release, the song later gained cult status as a snapshot of Nirvana’s pre-Nevermind era, capturing the band at their most abrasive and unpolished.

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Recorded in April 1990, “Dive” is an early track by Nirvana, first released as the B side to “Sliver” before appearing on Incesticide in 1992. Produced by Butch Vig, it captures the band’s raw pre Nevermind sound and early grunge roots.

Recorded in April 1990, “Dive” is an early track by Nirvana, first released as the B side to “Sliver” before appearing on Incesticide in 1992. Produced by Butch Vig, it captures the band’s raw pre Nevermind sound and early grunge roots.

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Oasis perform Hung in a Bad Place in Japan in 2002, a track from their fifth studio album Heathen Chemistry. Co-written by Gem Archer, it showcased the band’s evolving sound in the post-Britpop years, with a heavier edge and shared songwriting. The performance reflects their early 2000s lineup, where newer members began shaping the band’s direction.

Oasis perform Hung in a Bad Place in Japan in 2002, a track from their fifth studio album Heathen Chemistry. Co-written by Gem Archer, it showcased the band’s evolving sound in the post-Britpop years, with a heavier edge and shared songwriting. The performance reflects their early 2000s lineup, where newer members began shaping the band’s direction.

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“X Offender” is the opening track from Blondie’s 1976 self-titled debut album. It helped establish the band’s early sound: a sharp mix of punk attitude, pop hooks and Debbie Harry’s cool, detached vocal style, years before Blondie’s full mainstream breakthrough.

“X Offender” is the opening track from Blondie’s 1976 self-titled debut album. It helped establish the band’s early sound: a sharp mix of punk attitude, pop hooks and Debbie Harry’s cool, detached vocal style, years before Blondie’s full mainstream breakthrough.

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Driven by a sharper, post-punk energy, U2 pushed into a more direct sound with “Two Hearts Beat As One”. Taken from War (February 1983) and released as a single in March 1983, it continued the band’s rise during their early breakthrough period.

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By 2003, R.E.M. were treating “Nightswimming” as a quiet centrepiece of their live sets, letting its restraint do the work. Originally released in 1992 on Automatic for the People, the song became one of the band’s most acclaimed compositions, praised for its piano-led simplicity and reflective tone. By the early 2000s, it stood as a reminder of R.E.M.’s ability to command huge audiences with understatement rather than spectacle.

By 2003, R.E.M. were treating “Nightswimming” as a quiet centrepiece of their live sets, letting its restraint do the work. Originally released in 1992 on Automatic for the People, the song became one of the band’s most acclaimed compositions, praised for its piano-led simplicity and reflective tone. By the early 2000s, it stood as a reminder of R.E.M.’s ability to command huge audiences with understatement rather than spectacle.

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A standout early single by The Beautiful South, “You Keep It All In” was released in 1989 and appears on Welcome to the Beautiful South. Performed here on Later... with Jools Holland, the track captures the band’s melodic pop style and sharp songwriting.

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In Manchester in 2005, Oasis opened their hometown set with “Turn Up The Sun,” a defiant anthem written by bassist Andy Bell. The track, taken from the album Don’t Believe the Truth, marked the band’s creative resurgence after years of turbulence. Driven by a pulsing bassline and soaring guitars, it set the tone for a new chapter that felt both nostalgic and revitalised. Performed live, it carried extra weight, uniting old and new fans under the same roar of optimism that had always defined Oasis.

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In 1984, as The Smiths were still carving out their identity, a Rockpalast appearance captured “What Difference Does It Make?” at a raw and formative moment. Taken from their debut album The Smiths, the track introduced Morrissey’s cutting perspective and Johnny Marr’s urgent guitar style to a wider European audience. The performance shows the band before hype and legacy set in, defined by immediacy rather than myth.

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The Cure – A Forest Live at Pinkpop 2019 Released in 1980 on the album Seventeen Seconds, A Forest became the defining track that shaped The Cure’s early dark, atmospheric sound. Built around minimal guitar lines, cold synths, and Robert Smith’s distant vocals, it marked the band’s move into the post-punk and gothic style that would influence an entire generation.

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Taken from Use Your Illusion I, released September 1991, “Dead Horse” showcases a more stripped back side of Guns N' Roses. Captured live in Argentina in 1993, the track was written by Axl Rose and features its distinctive acoustic opening before shifting into a heavier sound.

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