Suede (called The London Suede in the United States) are an English alternative rock band of the 1990s and the early 2000s that were cited as starting the Britpop musical movement, and reinventing English guitar-band rock music. Through their several incarnations, they were able to consistently put out albums that charted well, while still holding the respect of critics. Although they never achieved great success in North America, they are considered by some to be one of the most influential British rock bands of the 90s.^[1]

They have achieved three number-one albums, including their debut Suede, which also won the Mercury Prize in 1993. Suede achieved critical success to follow up Dog Man Star in 1994, which at the time was seen as being out of step with their Britpop peers. The record was overshadowed by the sudden departure of guitarist Bernard Butler shortly before the album was completed.

Suede went on to greater commercial success in the UK, mainland Europe and Asia with Coming Up (1996), which produced five top 10 singles and Head Music (1999). Both albums charted at number 1. Suede's final album A New Morning (2002), the band's first album to be released after the collapse of Nude Records, was a commercial disappointment and in 2003, after the release of their Singles compilation, Suede disbanded.

Brett Anderson and Justine Frischmann met in 1989 while studying at University College London and became a couple soon afterwards.^[2] Together with Anderson's childhood friend Mat Osman, they decided they had a core of a band, and spent hours a day playing covers of The Beatles, The Smiths, and David Bowie.^[3] The death of Anderson's mother made him more focused and determined than before.^[4] After deciding that neither Anderson nor Frischmann had the skill to be a lead guitarist, the group placed an advert in NME seeking to fill the position.^[5] It ran in the magazine's 28 October 1989 issue: "Young guitar player needed by London based band. Smiths, Commotions, Bowie, PSB's. No Musos. Some things are more important than ability. Call Brett." Liking the term "no musos" and more importantly for name-checking The Smiths, the advert ensued interest from nineteen-year-old Bernard Butler, who soon auditioned to join the group.^[6] The group settled on the name Suede; lacking a drummer, the band initially used a drum machine.^[7] Despite Frischmann's efforts as the group's de facto manager, the group primarily scored small-scale gigs around London's Camden Town area.^[8]

Suede's first breakthrough came with their second demo Specially Suede which they sent to compete in Demo Clash, a radio show on Greater London Radio run by DJ Gary Crowley. "Wonderful Sometimes" won Demo Clash for five Sundays in a row during 1990, leading to a record contract with the Brighton-based indie label RML.^[9] After a series of gigs with an unreliable drum machine, Suede decided to recruit a full-time drummer. Justin Welch briefly fulfilled the role as drummer, though he only lasted six weeks, before joining Crawley band Spitfire.^[10] After Welch's departure, Suede placed another advert seeking a replacement. To the group's surprise, the ad was answered by former Smiths drummer Mike Joyce. While Joyce determined he was overqualified for the position, he recorded two songs with the group, which were set to be released as the "Be My God"/"Art" single on RML Records. The band was dissatisfied with the result, and most of the 500 copies pressed were destroyed.^[11] In June 1990 Suede found a permanent drummer, Simon Gilbert, through former manager Ricky Gervais. Both worked at the ULU. After hearing their demo and realising the band were devoid of a drummer, Gilbert asked to audition.^[12]

By 1991, Anderson and Frischmann had broken up; Frischmann started dating Damon Albarn of the group Blur. Frischmann believed the group could accommodate the new situation.^[13] However the situation grew tense; Butler recalled, "She'd turn up late for rehearsals and say the worst thing in the world - 'I've been on a Blur video shoot.' That was when it ended, really. I think it was the day after she said that that Brett phoned me up and said, 'I've kicked her out.'" After Frischmann's departure, the character of the group changed. "If Justine hadn't left the band", Anderson said, "I don't think we'd have got anywhere. It was a combination of being personally motivated, and the chemistry being right once she'd left." Anderson and Butler became close friends and began writing several new songs together.^[14] However, the band's music was out-of-step with the music of their London contemporaries as well as the American grunge bands. Anderson said, "For the whole of 1991, A&R men wouldn't give us a second look."^[15]

Jon Eydmann, an A&R man at Fire Records and manager of Spitfire would be Suede's manager for a short while before the release of their debut album. During this time Suede were supporting more established bands, which was an event Gilbert perceived as Eydmann's influence.^[16] Through the end of 1991 Suede received a number of favourable mentions in the music press, garnering them slots at shows hosted by NME and attended by musical figures such as former Smiths singer Morrissey. One of the gigs at the ULU in October 1991, which caught the attention of the media was Frischmann's final gig.^[17] John Mulvey of the NME, the journalist who first wrote about Suede was at the ULU gig. He said "They had charm, aggression, and... if not exactly eroticism, then something a little bit dangerous and exciting."^[18]

After seeing the group perform at an NME show in February 1992, Saul Galpern approached the group about signing to his independent record label Nude Records. Suede eventually signed a two single deal to Nude for the sum of £3,132.^[19] Suede were being hailed as "The next big thing" and prior to the release of the group's first single, the cover of the 25 April issue of Melody Maker featured the group, with a headline stating "Suede: The Best New Band in Britain".^[20] A signing war ensued after the Melody Maker issue, with major interest from Island, East West Records and Sony. The band also flew across to the states to meet Tom Zutaut of Geffen Records, who was known for signing Motley Crue and Guns N' Roses. During this visit the band noticed Eydmann's lack of business acumen towards Zutaut and his offer, which prompted the band to sack him as manager.^[21] The band eventually signed to Nude/Sony after Galpern struck a deal with the major label.^[22]

The band’s first sequence of singles and the debut album shocked audiences and critics alike. Their androgynous style and charged sexuality combined with Anderson's vocals and Butler's layered guitar lines helped distinguish them from their contemporaries.^[23] It was during this time Anderson courted controversy by his infamous comment that would resurface in interviews and articles in the following years, that he was "a bisexual man who never had a homosexual experience."^[9]

The band's debut single "The Drowners" attracted excitement because of its sharp contrast to the dying Madchester scene and the U.S. grunge sound of the time.^[24] A moderate hit, "The Drowners" reached number 49 on the UK Singles Chart.^[25] In August 1992 they released their second single, "Metal Mickey", which charted at number 17 and earned the band their first performance on Top of the Pops.^[22] It was the only Suede single to crack the US Modern Rock top 10, peaking at number 7.^[26] In February 1993, Suede performed their third single "Animal Nitrate" at the 1993 Brit Awards; upon release, it was to be their first top ten hit.^[27]