According to the band, Doves hadn’t played this London venue since November 2000. Reflecting on that night, they recalled nearly getting kicked out—though they left the details to the imagination—before apologising to the bouncers on duty. Two decades later, the five-piece was elated to return, intent on making the night legendary for their musical prowess rather than any past antics. With a sold-out crowd packed into Shepherd’s Bush Empire, anticipation was sky-high.
Supporting act White Flowers set the tone with an evocative mix of avant-garde soundscapes and dance-infused rhythms, impressing the audience with their diverse influences. As the stage was prepared for Doves, five large fans appeared—an intriguing visual cue. When the lights finally dimmed, brief flashes of illumination heightened the suspense before Doves launched straight into “Firesuite,” the cinematic instrumental opener from their debut LP Lost Souls. From there, the band—initially met with near-reverent admiration—shifted gears with a faster, edgier rendition of “Words,” immediately elevating the energy in the room.
Doves have always been a band that embraces unexpected turns, a trait still evident on their latest album, Constellations for the Lonely. They first demonstrated this with “Cold Dreaming,” a track that begins as an acoustic, MOR-leaning song before bursting into a stunning crescendo of strings, heavy guitar, and piano—a testament to their enduring ability to surprise and move an audience.
For a band whose roots stretch back to the late ’80s, when they were regulars at Manchester’s legendary Haçienda, Doves have always known how to connect with their audience through euphoric nostalgia or deeply emotional moments. This was evident in their heartfelt performance of “Cycle of Hurt,” a standout from 2020’s The Universal Want, marking their return after an eleven-year hiatus. The sombre tone soon gave way to uplift as the band launched into the melodic, guitar-driven “Winter Hill,” complete with quirky organ flourishes, before sending the crowd into a frenzy with the driving rhythms of “Pounding.”
Understanding the power of setlist dynamics, Doves strategically placed “Black and White Town” as the final song before the encore. Injecting it with a rawer, punkier edge, they transformed the classic into a moment of pure exhilaration.
Returning for the encore, they unleashed a heavier, grittier version of “The Cedar Room” before adding a country-infused twist to Kingdom of Rust’s title track. The penultimate song, “There Goes the Fear,” remained gloriously intact, proving that while Doves love to experiment, they also know when to leave perfection untouched. When it seemed like the show had peaked, the band took Shepherd’s Bush even further back in time, closing the night with “Space Face” from their early ’90s Sub Sub days—a fitting nod to their origins.
Notably, frontman Jimi Goodwin was absent from the tour, acknowledged by the Williams twins, who seamlessly took over vocal duties. Yet, Goodwin’s presence was still felt—among the crowd and the band itself. Whatever the future holds, one thing remains clear: Doves continue to captivate live audiences, and if no further tour dates are announced, demand for their return will only grow stronger.
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