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The Tears
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The Tears were an English rock supergroup formed in 2004 by ex-Suede bandmates Brett Anderson and Bernard Butler, along with the former Delicatessen and Lodger members Will Foster (keyboardist), bassist Nathan Fisher, and Bernard Butler session drummer Makoto Sakamoto. The duo Anderson and Butler were a much anticipated reunion and music critics praised their first concerts and only album, Here Come the Tears. However, the project was short-lived as they disbanded in 2006, which allowed Anderson to focus on his solo career before Suede reformed in 2010, Butler became a full-time producer, and Foster worked as additional musician for the Fratellis since 2008.

Key Information

History

[edit]

In 1994, when Bernard Butler walked out of Suede, they were the biggest new band in Britain.[1] He was pilloried in the music press and characterised as "demanding, difficult and egotistical" by Brett Anderson.[2] "When he left the band we pretty much hated each other as much as two people can hate each other," admitted Anderson in an interview with The Times.[3] The pair parted company in July 1994 while recording Suede's second album Dog Man Star, which resulted in a major fallout due to musical differences and Anderson's hedonistic lifestyle. As Suede soldiered on and Butler forged a solo career, both with varying degrees of success, they continued to snipe at each other in the press.[1] Though Butler and Anderson had not spoken to each other for nine years,[3] Anderson claimed getting back in touch with Butler was not difficult. The band decided on being named after a line from a Philip Larkin poem, Femmes Damnées,[4] which ends with the line: "The only sound heard is the sound of tears".

The band played their first ever live show on 14 December 2004 at the Oxford Zodiac.[5] Things went as expected for the "new" band, and most new songs were received well by those attending the first set of shows. When asked during a concert by a fan to play Suede song, "The Drowners", Anderson replied saying, "Did somebody say they wanted to hear "The Drowners"? You've come to the wrong gig, mate."[6]

Apart from relatively minor reviews of the first clutch of live shows, The Tears' first press was a review of "Refugees", an interview with Anderson, and a poster in The Sun on 15 April. The next major article was by Alexis Petridis in The Guardian, which ended on an extremely optimistic note: "the pair seem artistically reinvigorated by each other's company. Anderson talks excitedly of Tears songs like the ballad Asylum, inspired by his father's struggle with depression, as having moved away from ‘Suede cliches or Brett Anderson cliches ... it's not, you know, opiated fop territory.’"[1]

From the start, Anderson was insistent that the band would not be playing any songs by Suede.[7] Things would change over time, however, as the band ended up playing the B-side, "The Living Dead", to an enthusiastic reception, during an encore for their show at the Sheffield Leadmill in April.[8] In April 2005, the band's first single, "Refugees", was released. The single was a success and peaked in the Top 10 in the UK Singles Chart.[9]

The album, Here Come the Tears followed on 6 June 2005, which the album was recorded in secrecy during the entire of 2004. It was released to generally favourable reviews that helped solidify the duo's comeback.[10] However it failed to crack the Top 10 of the UK Albums Chart.[9] Anderson felt that the project was eclipsed by the curiosity in the reconciliation with Butler, saying: "...the story of me and Bernard getting back together again was far too juicy, and it overshadowed the music completely. I am proud of the record we made, but the obsession with us stopped us enjoying it."[11] In late June, the band played a set at the John Peel stage at the Glastonbury Festival. The second single from the debut album, entitled "Lovers", was released in June. Though a significantly lower charting than the previous single, it still managed to reach number 24.[9]

More than a month later, Anderson announced that he would release his long-awaited solo album in between the touring for Here Come the Tears, and the release of the band's follow up album. After playing several festivals including Glastonbury and T in the Park along with international gigs, the band announced a European tour with dates in October and November. However, the tour was soon cancelled and the band were dropped from their label.

In late April 2006, Anderson posted a message on the band's message board announcing the band were on temporary hiatus because "no one ever wanted this thing to get caught up within the drudgery of the whole tour/record/tour cycle anyway". In addition, he announced that he had completed his debut solo album and that it would see light in early 2007, hinting that the second Tears record would most likely come after that. In August 2006, the band's official site and forum were closed. In 2007, Anderson admitted in an interview that The Tears were about to write their second album, however they decided to split because they were simply not enjoying it. Asked about a second record, Anderson replied. "The chance of there being another Tears record in the future is pretty good actually."[12] These hopes were short-lived, however when Butler announced his retirement from performing in 2008 to concentrate on producing.[13] Anderson later decided to become a full-time solo artist, releasing three solo albums before Suede reformed in 2010.

The band's drummer, Makoto Sakamoto, died on 21 August 2018 from an unspecified illness, as confirmed by Bernard Butler on Twitter.[14][15]

Members

[edit]
  • Brett Anderson – lead vocals
  • Bernard Butler – lead and rhythm guitars, backing vocals
  • Nathan Fisher – bass guitar, backing vocals
  • Will Foster – keyboards, piano
  • Makoto "Mako" Sakamoto – drums, percussion (died 2018)

Discography

[edit]

Albums

[edit]

Singles

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Tears

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The Tears were an English and band formed in 2004 by former vocalist and guitarist , alongside keyboardist Will Foster, bassist Nathan Fisher, and drummer Makoto Sakamoto (died 2018). The group emerged following the 2003 disbandment of , with Anderson and Butler reuniting after a decade-long separation to revive their collaborative songwriting partnership that had defined Suede's early success. The band's sole studio album, Here Come the Tears, was released in June 2005 on the Independiente label and featured singles such as "Refugees" and "Lovers," blending orchestral elements, influences, and introspective lyrics characteristic of their roots. Critics praised the album for its lush production and emotional depth, often comparing it favorably to Suede's classic era, though it achieved moderate commercial success, peaking at number 15 on the . The Tears toured extensively in support of the release, performing at major festivals like , but the band went on hiatus in 2006 and subsequently disbanded, after which Anderson pursued a solo career and Butler focused on production work. Despite their short tenure, the band is noted for bridging the gap between Suede's legacy and the mid-2000s indie scene.

Background and Formation

Origins in Suede

Suede was formed in in 1989 by vocalist , bassist , and rhythm guitarist , Anderson's girlfriend at the time. Drummer Simon Gilbert joined in 1991, followed shortly by guitarist , who responded to a advertisement and quickly became integral to the band's sound through his intricate guitar work and co-writing contributions. The lineup's early demos and singles, such as "The Drowners" in 1992, garnered critical attention, positioning Suede as harbingers of the emerging scene with their glam-infused, androgynous aesthetic and lyrical focus on urban alienation. The band's debut album, Suede (1993), showcased Anderson's soaring vocals paired with Butler's ornate guitar arrangements and co-composed melodies, achieving immediate commercial breakthrough as the fastest-selling debut album in the UK since Frankie Goes to Hollywood's Welcome to the Pleasuredome. It topped the UK Albums Chart and won the 1993 Mercury Music Prize, cementing Suede's status as Britpop pioneers. Their follow-up, Dog Man Star (1994), amplified Butler's ambitious songwriting and guitar experimentation—evident in tracks like "The Asphalt World," featuring an extended eight-minute solo—while delving into darker, more orchestral themes amid Anderson's introspective lyrics. However, escalating tensions between Anderson and Butler over creative control, exacerbated by drug use and production disputes with Ed Buller, culminated in Butler's abrupt departure on July 8, 1994, before the album's completion and during its promotional tour. Following 's exit, restructured with new guitarist Richard Oakes, while retaining core members Osman and Gilbert; Anderson led the band through their third album, Coming Up (1996), which marked a brighter, more accessible shift and became their biggest commercial success with five top-10 singles. Meanwhile, Butler channeled his energies into solo endeavors and production, most notably forming a short-lived but impactful duo with vocalist in 1995, yielding Top 20 singles like "Yes" that highlighted his guitar prowess in a soulful, Spector-esque context. Suede's rapid ascent in the Britpop landscape, coupled with the acrimonious 1994 split—described by contemporaries as a "very public and vitriolic" fallout—left a profound creative void and personal rift between Anderson and , fostering years of separate paths that ultimately set the stage for their reconciliation. This unresolved tension was bridged in 2003–2004, directly influencing the formation of The Tears as a vehicle for renewed collaboration.

Reunion of Key Members

Following Suede's disbandment in late 2003, a decade after the band's acrimonious split in 1994, reached out to approximately one week after Suede's final performances, initiating a reconnection that led to collaborative songwriting sessions. These sessions, which began in secrecy around January 2004, allowed the pair to address and move beyond the creative and personal tensions that had defined their earlier partnership. In October 2004, Anderson and publicly announced the formation of The Tears as a supergroup endeavor, with Anderson expressing a renewed focus on guitar-centric rock following Suede's more experimental final years. The duo signed with Independiente Records later that year, aiming to channel a matured version of their signature intensity through collaborative demos recorded in 's personal studio. To complete the lineup, drew from his production network to recruit bassist Nathan Fisher, while keyboardist Will Foster came via shared professional circles and drummer Makoto Sakamoto through connections in the London music scene; these additions provided a solid rhythm section for the emerging project. The early material emphasized raw energy and mutual respect, marking a deliberate evolution from their Suede-era dynamics. Preparations for the band's debut culminated in their first live performance on December 14, 2004, at the Zodiac venue in , a intimate gig that previewed over a dozen new songs and tested the refreshed collaboration in front of a small .

Career Highlights

Debut Album Production

The songwriting collaboration between and commenced in late 2003, shortly after the dissolution of , yielding a collection of material that revitalized their creative partnership. By early 2004, the duo had composed approximately 15 songs, including standout tracks such as "Refugees" and "Lovers," which fused Anderson's introspective, emotionally charged lyrics with Butler's intricate, ornate guitar arrangements to evoke a sense of personal turmoil and connection. Recording took place throughout 2004 at in , where served as producer, prioritizing the capture of the band's live energy through minimal overdubs to maintain an organic, immediate sound. The process was described by both Anderson and Butler as surprisingly harmonious and enjoyable, despite underlying personal tensions from their days that required ongoing resolution. Production challenges arose in integrating Anderson's distinctive, theatrical vocal style with Butler's multi-instrumental contributions, including layered guitars and orchestral elements, ultimately addressed through focused rehearsals with drummer Mako Sakamoto and bassist Nathan Fisher to ensure rhythmic grounding. Final mixing occurred primarily at The Strongroom in , with the exception of "," handled at Miloco's The Garden studio, refining the album's blend of brash pop and bleak ballads. Titled Here Come the Tears, the album features 11 tracks exploring themes of emotional vulnerability, fractured relationships, and societal displacement, released on 6 June 2005 via Independiente Records. Commercially, it debuted and peaked at No. 15 on the , bolstered by promotional efforts that leveraged nostalgia for the Anderson-Butler synergy from Suede's early successes.

Tours and Live Performances

The Tears made their live debut on 14 December 2004 at the Zodiac in , , where they performed early material from their forthcoming album alongside a selection of covers to gauge audience reception. The intimate venue setting allowed the band to refine their dynamic as a unit, with the show marking the first onstage collaboration between and in over a decade. In 2005, the band embarked on an extensive and European tour to promote Here Come the Tears, which served as the core of their setlists. Key highlights included headline performances at major festivals, such as the Stage at on 24 June, where they delivered a set featuring tracks like "Lovers," "Autograph," and "Refugees," and T in the Park in on 9 July, entertaining crowds with high enthusiasm. The tour encompassed dozens of dates across venues like London's Astoria and , as well as continental stops in , , and , blending headline gigs with festival appearances. The Tears' live shows were characterized by high-energy delivery, with Butler's soaring guitar solos providing instrumental peaks that complemented Anderson's theatrical stage presence, often evoking comparisons to icons through his dynamic movements. Sets frequently extended select tracks with improvisational flourishes, allowing the band to showcase their chemistry and adapt to audience energy in real time. Notable events included support slots for acts like and during early dates, alongside one-off appearances such as a live session for 6 Music on 11 2005, where they performed stripped-down versions of album cuts. These sessions highlighted the band's versatility beyond full-band rock arrangements. By late 2005, touring momentum waned amid label pressures and disappointing sales, resulting in only sporadic 2006 performances before the band's disbandment announcement in . The reduced schedule reflected internal strains, culminating in the group's dissolution without a farewell tour.

Disbandment and Aftermath

In early 2006, The announced their disbandment after the release of a single album, with frontman stating that the core duo of himself and guitarist had "lost the thread" of their collaboration and were no longer enjoying the process, despite the project's promising start. Contributing factors included the album's commercial underperformance, as Here Come the Tears peaked at number 15 on the , falling short of the Top 10 expectations set by the band's heritage and the lead single "Refugees" reaching number 9. Personal strains from the intensive 2005 touring schedule accelerated burnout for the members, compounded by the sudden death of Anderson's father during the promotional activities. Additionally, Anderson and Butler sought to pursue divergent creative paths outside the band dynamic. The immediate aftermath saw the cancellation of a planned European tour scheduled for and 2006, with no further live performances following the group's final shows in late 2005, such as appearances at the in August. The band was subsequently dropped by their label, Independiente, leading to the closure of their official website and forum in August 2006. Unreleased demos and material from early sessions for a potential second album were archived but never publicly developed. In the short term, Anderson shifted focus to a solo career, releasing his self-titled debut album Brett Anderson in 2007 through Concorde Records, marking a pivot to more introspective songwriting. , meanwhile, emphasized production work, including helming Sons and Daughters' second album This Gift in 2008 for Domino Records. Drummer Makoto Sakamoto continued session and live drumming for various artists post-disbandment, including collaborations with , until his death from an undisclosed illness on August 21, 2018. Bassist Nathan Fisher maintained a low profile post-disbandment, with limited public musical activities. Keyboardist Will Foster continued session work and performed with bands including Lodger and .

Musical Style and Influences

Core Sound Elements

The Tears' music was characterized by guitar-centric arrangements crafted by , whose playing incorporated lush, string-like textures through layered electric guitars and occasional orchestral swells, creating dynamic shifts that evoked the emotive intensity of . Butler's contributions often featured dissonant leads and free-roaming solos that intertwined with the melodic structure, providing a sense of propulsion and contrast within the tracks. These elements drew briefly from Britpop's guitar-driven ethos but evolved into a more mature framework. Brett Anderson's vocals, delivered in a florid and dramatic style honed over years of , conveyed poetic and centered on themes of , loss, entrapment, and fleeting redemption, infused with subtle sensibilities through theatrical phrasing and emotional vulnerability. His voice, marked by soaring intensities and a raw edge, added a layer of intimacy to the arrangements, emphasizing personal narratives of misfits and escape without overt histrionics. The band's interplay further defined their sound, with Will Foster's keyboards contributing orchestral depth via wandering pianos and smearing string-like effects that enriched the atmospheric quality. Nathan Fisher's bass lines provided a steady rhythmic foundation, anchoring the more expansive elements, while Sakamoto's precise drumming offered solid, grounding propulsion across both ballads and uptempo pieces. This collaborative dynamic resulted in a cohesive unit where instrumental roles supported rather than overshadowed the core songwriting duo. Production on their debut album Here Come the emphasized a raw, emotive quality, recorded primarily in Butler's home studio alongside sessions at RAK and 2KHZ Studios, favoring analog-inspired warmth and Phil Spector-like wall-of-sound techniques over polished digital effects to heighten the music's visceral impact. This approach yielded bristling energy and sparks of intensity, capturing the performances with immediacy. Overall, The Tears' genre blended sensibilities with edges, marked by ambitious pop structures and soulful undertones that set it apart from straightforward revivalism, prioritizing emotional depth over nostalgic replication.

Inspirations from Britpop Era

The Tears' formation and sound were deeply rooted in the movement of the 1990s, with founding members and drawing directly from their pioneering role in , a band often credited as one of the genre's originators for emphasizing British cultural identity and intricate melodic structures. Suede's early success, marked by their 1993 debut album, helped ignite 's focus on guitar-driven songcraft and lyrical storytelling about working-class life and emotional vulnerability, elements that Anderson and Butler revived in The Tears to reclaim a sense of national musical heritage amid shifting trends. Key artistic inspirations for The Tears included David Bowie's glam-era theatricality, which profoundly shaped Anderson's flamboyant stage persona and the album's dramatic flair, evoking Bowie's The Man Who Sold the World (1970) and (1971) through ornate arrangements and androgynous expression. Similarly, ' influence provided a foundation for introspective, witty lyrics exploring personal alienation and romance, a thread Anderson and had explored in Suede—where the band explicitly aimed to blend Smiths-like emotional depth with glam aesthetics—and carried forward into The Tears' cohesive, narrative-driven tracks. Roxy Music's art-rock sophistication further informed Butler's guitar work, infusing the music with elegant, experimental textures that prioritized sophistication over raw aggression, aligning with Britpop's nod to British innovation. In the 2004-2005 contemporary landscape, the rise of the —exemplified by bands like Franz Ferdinand and , who dominated music press with angular, energy—prompted Anderson and to reassert guitar-rock's melodic territory, positioning The Tears as a to the era's fragmented sounds. Deliberately sidestepping dominant trends such as nu-metal's heaviness or electronica's synthetic pulses, the duo opted for a nostalgic yet revitalized take on indie sensibilities, blending melancholy and pop accessibility to evoke Britpop's heyday in sweeping ballads and brash anthems that recalled early collaborations without direct replication.

Members and Personnel

Core Lineup Details

The core lineup of The Tears was a stable quintet assembled in 2004 by former collaborators and , comprising lead vocalist and primary lyricist , lead guitarist and producer , bassist Nathan Fisher, keyboardist Will Foster, and drummer Makoto Sakamoto, with no rotating personnel during the band's active period. (born September 29, 1967) handled lead vocals and served as the band's primary lyricist. As the former frontman of , he brought a distinctive glam-influenced style marked by an androgynous image that defined the band's early aesthetic. Bernard Butler (born May 1, 1970) played lead guitar, provided backing vocals, and acted as producer. Renowned as Suede's original guitarist for his melodic and intricate playing, he later collaborated on productions for artists including and Duffy after leaving that band. Nathan Fisher contributed and backing vocals. A lesser-known , he joined The Tears. Will Foster managed keyboards and piano. He previously performed with the band and co-formed the group Lodger, bringing a layered approach to the band's arrangements. Makoto Sakamoto (–2018) played drums. Originally from and based in the , he had a background in jazz-rock and extensive session work with British artists such as and before and during his time with The Tears; he passed away from an unspecified illness in August 2018.

Individual Contributions

Brett Anderson's lyrical evolution in The Tears represented a maturation from Suede's glam-infused flamboyance toward more vulnerable, introspective narratives drawn from his personal experiences following the band's initial breakup. In tracks like "Refugees," Anderson crafted poignant imagery of displacement and connection, such as refugees drifting "like leaves," evoking a sense of fragile intimacy and emotional rawness. This approach marked a deliberate shift, allowing for clumsily endearing expressions of longing that contrasted with his earlier, more . Bernard Butler's contributions centered on his guitar work and production oversight, where he composed intricate, chiming riffs that intertwined seamlessly with Anderson's vocals to recreate elements of their partnership while evolving the sound. He produced Here Come the Tears in his own attic studio, emphasizing a hands-on process that resulted in a polished yet intimate mix, free from the "shoddy" production issues he associated with Suede's . Butler's arrangements added layers of glam-rock texture, ensuring the album's tracks balanced melodic drive with subtle orchestration. Nathan Fisher's bass lines offered subtle, supportive grooves that anchored the rhythm section, providing a tight and propulsive foundation without overpowering the foreground melodies. Will Foster's keyboard additions incorporated swells and synth textures, lending emotional depth and lushness to ballads and mid-tempo tracks alike, elements absent from Suede's earlier palette. Sakamoto's drumming delivered precise timing and dynamic fills, contributing to the band's energetic pulse and enhancing overall cohesion. The quintet's collaborative dynamics fostered a balanced , with each member's input creating stability and mutual reliance that distinguished The Tears from Suede's more chaotic, tension-fueled creative process. Unlike the personal rifts that defined their prior partnership, Anderson and prioritized music-making over friendship, allowing and keyboards to integrate smoothly into a cohesive whole. This equilibrium enabled the band to channel their history into a refreshed, harmonious output.

Discography

Studio Albums

The Tears released only one studio album during their brief tenure as a band. Here Come the Tears is the debut and sole studio album by English the Tears, released on 6 June 2005 by Independiente Records. Produced by guitarist , the album was recorded primarily at in . It was issued in multiple formats, including , vinyl LP (as a limited edition), and later digital download. The album's cover artwork features the photograph "Guests 1998" by artist Christopher Bucklow, depicting abstract, ethereal human forms that evoke emotional introspection. The album peaked at number 15 on the upon release. It comprises 13 tracks with a total runtime of 52 minutes and 52 seconds, blending melodies with orchestral elements and introspective lyrics centered on themes of love, loss, and redemption.
No.TitleLength
1"Refugees"2:51
2""3:31
3"Co-Star"4:01
4"Imperfection"4:42
5""4:57
6"Two Creatures"3:57
7"Lovers"4:18
8"Fallen Idol"3:40
9"Brave New Century"4:05
10"Beautiful Pain"4:43
11""3:36
12""3:30
13"A Love as Strong as Death"4:12
No further studio albums were produced following the band's disbandment in 2006, though several unreleased demos from their 2004–2005 recording sessions, including tracks like "" and "Europe After the Rain," remain vaulted and unavailable to the public.

Singles and EPs

The band's singles served as the primary promotional vehicles for their debut album Here Come the Tears, with no EPs released throughout their tenure. Each single was issued in standard dual-CD formats, typically featuring the A-side paired with exclusive B-sides or remixes on and additional non-album tracks or enhanced content on , alongside limited vinyl editions. "Refugees", the , was released on 25 April 2005 and peaked at number 9 on the UK Singles Chart, marking the band's highest-charting release. Available in CD, 7" vinyl, and digital formats, CD1 included the B-side "Southern Rain", while CD2 offered "Feels Like Monday" and "Branded" alongside the music video directed by AlexandLiane. "Lovers", the follow-up single, arrived on 27 June 2005 to coincide with the album's launch and reached number 24 on the UK Singles Chart. Issued as a 2-CD set with 7" vinyl options, CD1 featured the B-side "Song for the Migrant Worker", and CD2 contained the exclusive tracks "Low Life" and "The Primitive" plus an enhanced music video. "Autograph", the third and final single, was released in October 2005 with a focus on radio airplay and limited physical distribution, resulting in minimal commercial impact and no significant chart entry. Collectively, the singles drove album awareness through their chart performance and exclusive content, with "Refugees" standing out as the commercial centerpiece that propelled initial buzz for the band.

Reception and Legacy

Critical Reviews

Upon its release in June 2005, Here Come the Tears received generally favorable reviews, earning a Metacritic score of 74 out of 100 based on 17 critics, indicating broad acclaim for the album's revival of the Anderson-Butler partnership. NME awarded it 8/10, hailing it as a triumphant return that captured the "elegant sadness" and "lyrical poignancy" reminiscent of Suede's early promise, with Bernard Butler's guitar work standing out as heroic and immersive. The Guardian praised the record's emotional depth, noting Brett Anderson's lyrics as "clumsy-endearing" in tracks like "Refugees," where imagery of drifting lovers conveyed a gritty romanticism. However, not all responses were glowing; Mojo gave it 7/10, appreciating the duo's rejuvenation through "beguiling" collaboration. Q Magazine was harsher at 4/10, critiquing moments of overwrought guitar dramatics as derivative of their Suede past and dismissing Butler's flourishes as "hopelessly overwrought" and lacking fresh range. Singles from the album also drew attention, with lead track "Refugees" lauded for its catchy hooks and swaggering energy, evoking 's upbeat flair in a way that excited critics and fans alike; described it as showcasing "dilettante-like swagger" that made it an instant standout. The follow-up "Lovers" received warmer but comparatively muted feedback, praised by musicOMH as an "upbeat, soaring, epic number" yet seen by some as a weaker successor that leaned too heavily on familiar tropes without matching the debut single's immediacy.) Overall, critics viewed The Tears' brief career positively for reigniting the chemistry between Anderson and , often comparing it favorably to Suede's Dog Man Star era, but lamented its short lifespan and perceived lack of innovation beyond those echoes; Pitchfork's 2005 review called it a "good album" grounded by solid rhythms but ultimately constrained by nostalgic familiarity, scoring it 6.7/10. The 2005 press tour generated significant buzz in music weeklies like , positioning the band as a potential revival act, only for the 2006 announcement of their indefinite hiatus—without a second album—to spark disappointment, with outlets like BBC Music noting the unfulfilled promise of their ambitious sound. In modern reappraisals during the 2020s, the band has achieved cult status within indie and circles, particularly among enthusiasts, with pieces highlighting the underrated intricacy of Butler's guitar arrangements; a 2025 in The Act of Just Being There described the album as "flush with praise for its casual elegance," emphasizing how the duo's ease belied deeper emotional layers that have aged well. Podcasts like those in fan communities have further spotlighted this, discussing tracks such as "" for their sweeping ballads and overlooked axe heroism, solidifying The Tears' legacy as a poignant footnote in 2000s .

Cultural Impact and Post-Band Activities

The Tears exerted a niche but enduring influence within the and spheres, primarily as a bridge between Suede's early promise and later supergroup experiments in the . Their reunion of and symbolized a reconciliation that inspired subsequent artist collaborations, echoing the era's emphasis on emotional intensity and guitar-driven drama. While not a commercial juggernaut, the band's output resonated with listeners valuing introspective songcraft, contributing to discussions of 's unresolved narratives as a poignant "what if" for unfulfilled potentials in the genre's history. Fan reception has remained steadfast among devotees, who regard The Tears as an extension of the duo's signature chemistry, preserving interest through shared appreciation of their sole album's blend of melancholy and bombast. Online communities dedicated to continue to highlight bootleg recordings and live performances from the band's brief tenure, underscoring a loyal but understated following without widespread mainstream revival. No major band reunions have materialized as of 2025, hampered in part by the 2018 death of drummer Sakamoto. Following the band's 2006 disbandment, Anderson embarked on a prolific solo career, releasing albums that explored personal themes with acoustic intimacy, such as his self-titled debut in 2007 and Wilderness in 2008. Later works like Black Rainbows (2013) and the 2017 compilation Collected Solo Work further showcased his evolution, often referencing the maturity gained from The Tears era in subsequent Suede revivals, where he has noted the project's role in refining his lyrical vulnerability. Butler, meanwhile, focused on production and songwriting, earning credits on high-profile releases including Duffy's debut album in the late 2000s and ongoing 2020s projects like reissues and new recordings for artists seeking his polished guitar sound. Tributes to following his 2018 passing included reflections from former bandmates on the drummer's contributions to their , though no formal band archive exists; instead, legacy endures through scattered interviews and fan-maintained collections. By 2025, The Tears are remembered as a fleeting but artistically rich chapter.

References

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  2. https://www.discogs.com/artist/447142-The-Tears
  3. https://www.theguardian.com/culture/culturevultureblog/2005/jun/25/whythetearsa
  4. https://www.mojo4music.com/articles/stories/the-making-of-suedes-dog-man-star/
  5. https://pitchfork.com/reviews/albums/8295-here-come-the-tears/
  6. https://genius.com/artists/The-tears-band/albums
  7. http://drownedinsound.com/releases/4109/reviews/12456-
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  10. https://www.theguardian.com/music/2018/feb/25/brett-anderson-interview-suede-coal-black-mornings
  11. https://www.theguardian.com/music/2005/apr/22/popandrock
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  22. https://www.concertarchives.org/concerts/the-tears--9561121
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  24. https://www.setlist.fm/setlist/the-tears/2005/worthy-farm-pilton-england-73d28a29.html
  25. https://www.bbc.co.uk/programmes/b01rcfyl
  26. https://www.scmp.com/article/508104/dont-be-suede-miss-tears-concert
  27. https://www.concertarchives.org/bands/the-tears?date=past
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  29. https://www.bbc.co.uk/6music/events/hub/tears_gallery.shtml
  30. https://www.theactofjustbeingthere.ca/p/the-tears-here-come-the-tears
  31. http://alterdudes.blogspot.com/2007/05/brett-anderson-interview.html
  32. https://wearecult.rocks/brett-anderson-collected-solo-work-reviewed
  33. https://www.independent.co.uk/arts-entertainment/music/reviews/album-the-tears-492808.html
  34. http://www.adriendenning.co.uk/thetears.html
  35. https://news.sky.com/story/suede-britpop-was-a-monster-and-you-cant-blame-us-11506690
  36. https://web.archive.org/web/20060109191247/http://uk.launch.yahoo.com/050621/33/1xwow.html
  37. https://rockandrollglobe.com/rock/so-young-suede-at-30/
  38. https://www.allmusic.com/artist/brett-anderson-mn0000621415
  39. https://www.theguardian.com/books/2018/feb/25/brett-anderson-suede-coal-black-mornings-extract
  40. https://www.allmusic.com/artist/bernard-butler-mn0000056171
  41. https://bernardbutler.com/biography
  42. https://www.prsformusic.com/m-magazine/features/bernard-butler-on-songwriting
  43. https://www.blackstarampsservice.com/uk/artists/profile/will-foster
  44. https://drummerszone.com/artists/makoto-sakamoto/4995/profile/
  45. https://www.theguardian.com/music/2005/jun/03/popandrock.shopping2
  46. https://www.sputnikmusic.com/review/65581/The-Tears-Here-Come-The-Tears/
  47. https://www.discogs.com/master/135422-The-Tears-Here-Come-The-Tears
  48. https://www.morrissey-solo.com/threads/the-tears-b-sides-and-unreleased.84537/
  49. https://www.officialcharts.com/songs/tears-refugees/
  50. https://www.discogs.com/master/135423-The-Tears-Refugees
  51. https://www.youtube.com/watch?v=jBqvMzY3I3c
  52. https://www.officialcharts.com/songs/tears-lovers/
  53. https://www.discogs.com/master/135421-The-Tears-Lovers
  54. https://www.discogs.com/release/4198303-The-Tears-Autograph
  55. https://www.officialcharts.com/artist/16939/tears/
  56. https://www.metacritic.com/music/here-come-the-tears/the-tears
  57. https://www.nme.com/reviews/reviews-nme-7662-303915
  58. https://www.metacritic.com/music/here-come-the-tears/the-tears/critic-reviews
  59. http://drownedinsound.com/releases/6516/reviews/11807
  60. https://www.reddit.com/r/SuedeBand/comments/1dr6wp2/the_tears_here_come_the_tears_album_2005/
  61. https://thequietus.com/opinion-and-essays/anniversary/a-world-thats-gone-suedes-dog-man-star-30-years-on/
  62. https://pitchfork.com/reviews/albums/10039-brett-anderson/
  63. https://thequietus.com/interviews/brett-anderson-suede-slow-attack-interview/
  64. https://www.musicradar.com/news/guitars/bernard-butler-shows-off-his-guitar-collection-598904
  65. https://www.georgeshilling.com/working-with-bernard-butler-from-1997-to-2021-mastering-new-tracks-for-a-reissue-of-an-album-i-recorded-and-mixed-24-years-ago/
  66. https://theactofjustbeingthere.ca/p/the-tears-here-come-the-tears
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