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Steven Wells
Steven Wells
Steven Wells
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Steven Wells (10 May 1960 – 24 June 2009)[1] was a British journalist, author, comedian and punk poet born in Swindon, Wiltshire.[2] He was best known for ranting poetry and his provocative, unapologetic music journalism.[3] In June 2006, he wrote in the Philadelphia Weekly about his treatment for Hodgkin's lymphoma.[4][5] After being in remission for a short time, he was diagnosed with enteropathy-associated T-cell lymphoma in January 2009[6] and died on 24 June 2009 in Philadelphia.[7]

Key Information

Early life and education

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Wells was born in Swindon but moved to Bradford when young. He left school with minimal qualifications in 1977.[citation needed]

Career

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He started working in a factory and as a bus conductor. It was at this time that he became involved with punk rock, including the radical socialist Leeds art-punk band the Mekons.

In 1981, whilst living in Leeds, Wells began performing as a ranting poet and comedian under the names Seething Wells, Swells and Susan Williams. He was a support act to various northern English punk bands, such as the Fall, Delta 5 and Gang of Four, along with fellow ranting poets such as Attila The Stockbroker and Porky The Poet.[citation needed]

After moving to London, Wells began to write for NME, initially under the name Susan Williams. He championed socialist soul/punk band the Redskins; American hardcore punk bands such as Black Flag and the Butthole Surfers; British bands that merged thrash, hardcore and heavy metal, such as Extreme Noise Terror, Napalm Death; and certain pop artists, such as Daphne and Celeste.[8][better source needed]

Wells was also critical of some artists and individuals such as Richard Branson, and when covering his appearance in issue #160 of the British Transformers comic, mockingly called Branson "the world's richest bearded git" and Transformers a "crap comic".[9] In the 1990s, he diversified, occasionally writing comedy (for shows such as On the Hour[10] and The Day Today) and other non-music related journalism.

In 1992, Wells and Nick Small formed GobTV, a music video directing partnership. GobTV videos were characterised by extreme visuals, rapid edits, a political agenda and humour. GobTV made promos for the Wildhearts, Manic Street Preachers, and Skunk Anansie amongst others, and were the top UK directors in 1994 and 1995.[11] The partnership ended in 1996. In 1999 he started the Attack! Books publishing house and his debut novel was Tits Out Teenage Terror Totty. His illustrated history Punk: The Stories Behind the Songs was published in 2004.[12] In 2009 he contributed a story to the Love Hotel City anthology.[13]

Wells became a sports columnist for The Guardian,[14] FourFourTwo, 90 Minutes, The Quietus music website and the Philadelphia Weekly, and was in the process of writing several books.

Tributes

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There were many tributes to Wells after his death.[15] Billy Bragg wrote: "The antithesis of the bonehead racist, he was in fact an articulate left-winger and unlike the bully boy who only picks on those weaker than him, Swells chose to target the powerful, the popular, the hip and the cool."[16]

Music journalist Everett True described Wells as "a tastemaker. He informed people's opinions, challenged them, led them, changed them…most of this by default, by sheer force of his personality and peerless ability to entertain."[17]

Boff Whalley, of anarcho-punk band Chumbawamba wrote: "Seething (Steven) Wells died two days ago. Then tonight, starting to write this, I find out that Michael Jackson has died. One of these two men owned a ranch called Neverland and had three children called Michael Joseph Jackson Jr, Paris Michael Katherine Jackson and Prince Michael Jackson II. The other one was the King of Pop."[18]

References

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Steven Wells

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Steven Wells was a British journalist, music critic, author, comedian, and punk poet known for his provocative, acerbic, and highly influential writing style that combined fierce wit, outrage, and political conviction. Born on 10 May 1960 in Swindon, Wiltshire, England, Wells began his career as a ranting poet in Yorkshire before joining the New Musical Express (NME) in 1983 under the pseudonym Susan Williams, remaining a freelance contributor for more than 25 years. His work at NME established him as one of the most distinctive voices in British rock journalism, characterized by savage sarcasm, hyperbolic insults, and deliberate provocation, as he championed authentic punk and pop while relentlessly attacking artists he viewed as inauthentic or inadequate. He also contributed material to BBC Radio 4's On the Hour and the television series The Day Today, co-founded the production company GobTV to direct politically charged music videos, and later founded the publishing imprint Attack! Books, through which he released satirical works including the novel Tits-Out Teenage Terror Totty and the illustrated history Punk: The Stories Behind the Songs. After relocating to the United States with his wife Katharine, Wells continued writing for The Guardian and the Philadelphia Weekly in a style that retained its intensity while addressing politics, class, religion, and popular culture, as well as documenting his personal experiences with cancer treatment in candid detail. He died of lymphoma on 24 June 2009 in Philadelphia at the age of 49.

Early life

Birth and background

Steven Wells was born on 10 May 1960 in Swindon, Wiltshire, England. He was the son of a finance director who maintained lifelong socialist convictions. Wells spent his early childhood in Swindon before relocating with his family to Bradford in 1968. As a teenager in the late 1970s, amid the emergence of punk rock and the political shifts under the Thatcher government, he became immersed in the punk culture that flourished in his adopted northern setting. This formative exposure would later inform his creative direction.

Early creative pursuits

Steven Wells began his early creative pursuits as a ranting poet in the early 1980s, emerging from the punk scene in Yorkshire. While living in Leeds in 1981, he started performing under the name Seething Wells, delivering provocative and angry poems on stage between bands or as a support act. His work drew heavily from the punk movement's DIY ethos, which emphasized independent creation and direct audience engagement without reliance on mainstream structures. Wells performed live in the punk underground, appearing in squats, colleges, and other alternative venues where he wound up audiences with his scathing, witty rants. He collaborated closely with fellow ranting poet Attila the Stockbroker, forming a notable partnership in the scene. Together they released the EP Rough Raw & Ranting, which entered the indie charts, followed by a joint book of poetry. These activities represented his initial forays into creative expression through poetry and performance before his transition to music journalism.

Career

Punk poetry and early writing

Steven Wells emerged in the mid-1980s as a punk poet, performing his work at gigs and events in the punk and alternative music scenes across Britain. His early writing and performances featured a distinctive confrontational and satirical style, marked by aggressive humor, political provocation, and anti-establishment themes that resonated with punk's DIY ethos and countercultural energy. This approach set him apart in the underground poetry circuit, where he gained a reputation for direct, unfiltered commentary on society, authority, and hypocrisy. In 1991, Wells published his poetry collection Ideology through AK Press, a compilation of his poems that encapsulated his early output and emerging voice. The book reflected his characteristic blend of wit, anger, and ideological critique, drawing from his experiences in the punk world and solidifying his presence as a writer transitioning from performance to published work. This collection marked a key milestone in his early creative output, demonstrating the evolution of his satirical edge that would later inform his journalistic style.

Music journalism

Steven Wells began contributing to the New Musical Express (NME) in the mid-1980s, with his earliest archived articles appearing in 1985. He developed into a prolific freelance writer and regular columnist, producing reviews, interviews, and features for the publication across the late 1980s, the 1990s, and into the early 2000s, with contributions documented as late as 2000. Wells was celebrated and reviled in equal measure for his acerbic, hyperbolic, and often savage writing style, which blended brutal humor, extended outrageous metaphors, and unrelenting political critique. His pieces attacked perceived complacency, commercialism, and cultural regression in music, earning him a reputation as one of the most confrontational voices in British rock journalism during this period. Examples of his characteristic tone include scathing reviews laden with inventive insults and dismissals of artists he deemed artistically or ideologically lacking. In the Britpop era of the mid-1990s, Wells became especially notorious for his hostility toward bands emblematic of the movement, including Oasis and Blur, whose mainstream success and lad-oriented image he frequently ridiculed in print and performance. His satirical takedowns, including a high-speed verbal assault on Oasis drawn from his own material, exemplified his disdain for what he viewed as regressive cultural trends in UK guitar music. Wells' provocative approach at NME, marked by extreme opinion and comedic aggression, defined his music criticism during this phase of his career and carried forward into his later work at The Guardian.

Published books

Steven Wells published a satirical novel and a non-fiction music history book during the late 1990s and 2000s, building on his background in punk poetry and music journalism. His debut novel, Tits-Out Teenage Terror Totty, appeared in 1999 through Attack! Books, the publishing house he founded that year. The work delivered a fierce satire of the UK media industry and celebrity culture. In 2004, Wells released Punk: Loud, Young and Snotty – The Stories Behind the Songs (also issued under the variant title Anarchy in the UK: The Stories Behind the Anthems of Punk), an illustrated non-fiction examination of iconic punk rock tracks and their cultural significance. This book reflected his longstanding engagement with punk culture and rock history, drawing from his extensive journalism experience. These publications showcased Wells' characteristic biting humor alongside his knowledge of music subcultures and societal critique.

Later journalism

After leaving the NME, Steven Wells contributed to The Guardian starting in the early 2000s, where he wrote a weekly column for guardian.co.uk/sport from approximately 2002 until his death in 2009. These pieces showcased his acerbic and unique voice, applying his satirical and provocative approach to sporting topics and cultural commentary. His later journalism also included freelance work for other outlets, notably the Philadelphia Weekly, where his writing was described as more measured compared to his earlier NME style. Wells continued producing opinionated columns that blended humor, critique, and cultural observation across music and broader society. This period reflected a shift toward diverse platforms while preserving his distinctive, confrontational tone.

Television and media appearances

Guest appearances on TV shows

Steven Wells made a number of appearances as himself on British television shows, contributing to discussions on music, journalism, and pop culture. He appeared as a journalist on Without Walls (1992–1993) and as himself on Top Ten (2001) and Dancing with the Devil (1991, as presenter). These spots reflected his distinctive style from his journalism career.

Personal life

Identity and views

Steven Wells was a committed socialist and member of the Socialist Workers Party, whose strong left-wing convictions often shaped and constrained his career decisions. Described as an "old Marxist dinosaur," he maintained a lifelong adherence to Marxist and socialist principles, evident in his participation in protests, anti-fascist actions such as removing fascist posters, and his consistent alignment with the underdog against establishment figures and class privilege. His anti-establishment stance manifested in sharp class commentary, disdain for "posh" elites, and a refusal to compromise his opinions for professional gain. Wells' identity was deeply rooted in the punk ethos that formed him as a ranting poet in the 1980s Yorkshire scene, where he embraced the spirit of punk rock through provocative, unfiltered expression and rejection of mainstream cultural norms. This background fueled his confrontational personality—he was known for being argumentative, provocative, and incapable of moderation, often devastating artists he despised with scabrous invective while inventing terms like "saddo" to express contempt where existing language fell short. Despite his aggressive public persona as a rude, aggressive ranter who gave no quarter in debates, he displayed generosity and encouragement toward those he admired, combining fierce intelligence with humor and a capacity to argue others into submission while making them laugh. His uncompromising style reflected a punk-derived commitment to directness, anti-nuance, and life-affirming energy over compromise or self-doubt.

Death

Illness and passing

In 2006, Steven Wells was diagnosed with Hodgkin's lymphoma. He openly documented his treatment experiences and encounters with the American healthcare system in two cover stories for the Philadelphia Weekly, including vivid accounts of being in the emergency room under heavy pain medication. Following a brief period of remission, he received a diagnosis of enteropathy-associated T-cell lymphoma in January 2009. Steven Wells died of cancer on 24 June 2009 at the age of 49.

Legacy

Influence and posthumous recognition

Steven Wells' deliberately provocative and highly opinionated style of music criticism left a significant mark on British music journalism, particularly through his emphasis on entertainment, polarization, and direct impact over detached objectivity. Emerging from the early 1980s UK punk and fanzine scene, he established himself as a tastemaker whose forceful personality and entertaining rants shaped reader opinions and challenged prevailing tastes in music and culture. Wells rejected impartiality in criticism, insisting that writers should entertain first, irritate, inform, destroy what they hate, and ultimately aim to change minds or even the world. Following his death in 2009, tributes from peers in music journalism mourned the loss of such singular, belief-driven voices and positioned him as one of the last prominent examples of the "taste-maker critic" model. Everett True, reflecting on Wells' legacy, emphasized his core philosophy that "you write to make an impact," arguing that criticism without the power to provoke action or remembrance is meaningless. The recurring sentiment across remembrances was that "we'll never see his like again," highlighting his irreplaceable role in an era when personality-driven, confrontational journalism has become rarer in favor of more averaged or meta approaches. His influence endures in the understanding that music writing can and should be performative, subjective, and politically engaged rather than neutral.
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