A thunderous reunion of generations where glam rock memory meets living electricity
When ELA joined forces with Don Powell of Slade to perform “Cum On Feel The Noize” and “Goodbye To Jane”, the moment carried far more weight than a simple revival of classic songs. These two anthems, originally released by Slade in the early 1970s and immortalized through their chart dominance and cultural impact, represent a peak era when British rock was loud, communal, and defiantly alive. “Cum On Feel The Noize” famously reached number one on the UK Singles Chart in 1973, while “Goodbye To Jane”, from the album Slayed?, became a cornerstone of Slade’s raw, streetwise identity. Decades later, their return in this collaboration reaffirms their enduring power.
What makes this pairing so compelling is not nostalgia alone, but continuity. Don Powell, one of the original architects of Slade’s thunderous sound, brings with him the weight of lived experience. His drumming was never about technical excess, but about force, drive, and the physical impact of rhythm. In this performance, that same spirit remains intact. The beats still land with conviction, grounding the songs in the muscular pulse that once shook working class halls and packed arenas.
ELA, stepping into this legacy, does not attempt imitation. Instead, she approaches these songs with respect and emotional intelligence, understanding that glam rock at its best was never shallow. Beneath the chants and crunch lay urgency, defiance, and joy. Her presence bridges eras, translating that spirit for a modern audience without sanding down its rough edges. The vocals retain their grit, but there is also a sense of conversation across time, as if the songs themselves are being asked what they still mean today.
Lyrically, “Cum On Feel The Noize” remains one of rock’s most direct invitations. It is not a metaphor or a puzzle. It is a call to participate, to shout, to belong. In contrast, “Goodbye To Jane” carries a darker emotional undercurrent. It is restless, slightly dangerous, steeped in the tension of desire and departure. Together, they form a complete emotional arc of Slade’s world, one explosive and communal, the other raw and unsettled.
This collaboration reminds us that glam rock was never just about costumes or volume. It was about identity, about taking ordinary voices and amplifying them until they could not be ignored. Seeing Don Powell still inhabiting that role reinforces the idea that this music was built to last because it was grounded in real emotion and physical presence. Paired with ELA, the performance becomes an affirmation rather than a tribute, a living statement that these songs still function as intended.
In the end, this is not a look backward. It is a reminder that great rock music does not age out of relevance. It waits for the right hands, the right voices, and the right moment to surge forward again. In this union of legacy and renewal, Slade’s anthems reclaim their place as living, breathing forces, still capable of shaking walls and stirring hearts.