Formed by Bruce Foxton after the end of The Jam, From the Jam keeps the sharp, soulful punch of late 70s mod revival alive with Russell Hastings on lead vocals and guitar. The focus is on precision and bite, with bass lines that snap and choruses that hit hard.

Mod Roots, Modern Delivery

Expect cornerstone numbers like Town Called Malice, Going Underground, Start!, and Down in the Tube Station at Midnight, with a couple of deep cuts rotated in.

What Might Get Played

The room usually mixes lifelong mod fans in parkas and neat polos with younger indie listeners and parents bringing teens who found the songs through films and playlists. A neat bit of history is that Smithers-Jones was written and sung by Bruce Foxton, and first appeared with a string arrangement on Setting Sons. Another quirk: Going Underground was a UK number one that was released as a stand-alone single, not on a studio album at first. These guesses about songs and staging are based on recent shows and could change on the night. You can expect a brisk start, a mid-set pocket of moody tunes, and a sing-along finale that sends everyone out humming.

The Mod Scene Around From the Jam

You will see a balanced mix of pressed parkas, Harrington jackets, neat haircuts, and clean sneakers alongside gig shirts from past The Jam tours.

Polished Mod, Lived-In Pride

Scooter club patches and enamel badges appear next to modern tote bags and retro stripe tees, which tells you the style code is cared for but not rigid. Chants tend to rise on the drum pick-ups, and the loudest sing-alongs arrive on Town Called Malice, Start!, and the first verse of That's Entertainment. Handclaps on the off-beat become a habit by the second chorus, and you will hear harmony stabs from pockets of the floor during the bridges.

Rituals That Stick

Merch leans classic, with badge packs, bold logo shirts, and poster designs that mimic 7-inch sleeves. After the encore, the scene around the stand is friendly and talky, with older fans trading memories of small-club shows while newcomers compare favorite lines. It feels like a living scene that values sharp songs, tidy looks, and community more than volume for its own sake.

How From the Jam Sound Live

Russell Hastings carries the lead with a clear, clipped delivery that nods to Paul Weller without drifting into mimicry.

Punchy Parts, Smart Space

Bruce Foxton drives the songs with pick-led eighth notes that pop, leaving space for guitar to add bright chords and tight jabs. Tempos run a shade quicker than the records, which gives choruses extra lift and keeps the pits compact rather than wild. They like clean count-ins, sharp stops, and short tags, so even the rowdy numbers feel precise.

Subtle Tweaks That Land

A quieter mid-set often features Smithers-Jones in full-band form, swapping the old string part for rhythm guitar figures and melodic bass fills. On some runs the band lowers a few keys or tunes down a half-step, which softens the top end and helps the choruses sit comfortably for group singing. Lighting tends to be bold primary colors with quick flashes on the snare, adding punch without distracting from the tight arrangements.

If You Like From the Jam

Fans of Paul Weller often connect here first, since his solo sets share soulful chords, tight grooves, and a similar crowd that knows every chorus.

Kindred Stage Energy

Buzzcocks make sense for the same audience because both acts favor speed, tuneful hooks, and clean downstrokes over noise. Stiff Little Fingers bring a punchy, melodic protest edge that mirrors the bite in The Eton Rifles and the drive in the fast The Jam cuts.

Shared Fan DNA

The Undertones are a fit if you like bright melodies over brisk beats, and the crowds overlap in age and dress. If ska rhythms and 2-Tone style pull you in, The Specials sit nearby in taste and era, and their shows mix danceable beats with sharp social commentary. All of these artists prize concise songs, dynamic drums, and sing-ready refrains rather than long jams. So if you rotate these bands at home, a night with From the Jam will feel musically coherent without feeling like a copy.