The extensive documentation of the 1990s' fascination with British pop culture often overlooks a significant truth known to its insiders: beneath the surface, hidden in the corners and crevices of the era, existed a unique musical entity that defied the norms of being wholly British or popular. This entity was Bedlam Opera, the unconventional creation of London poet Jack Beckett. In 1996, after several unsuccessful attempts to form a band that included musicians from a Swiss man, a South African, and an Australian, Beckett finally established a stable lineup. The Australian member, Matt Cole, a talented pianist from Melbourne, infused his passion for Debussy, Leonard Cohen, and the Dirty Three into Beckett's ambition to transform rock lyrics by blending surrealism, romanticism, and lyrical poetry. Their collaboration yielded songs that echoed the styles of Nick Cave, Tom Waits, Stuart A. Staples, Jacques Brel, Ian Curtis, Patti Smith, Mogwai, and even sea shanties, reflecting a diverse range on the fringes of the rock-pop-folk spectrum. While Cole had a fondness for The Go-Betweens, Beckett was influenced by Baudelaire and krautrock.

After losing Miguel Pedro to South Africa following their debut performance in 1997, Cole and Beckett welcomed Joe Murphy, a Sheffield native, on accordion. Murphy enriched their sound with a lively interpretation of sailor songs and added emotional depth to their more delicate pieces. Aylesbury's Matt Dolphin, an adept fingerstyle guitarist, took Pedro's place, completing the lineup alongside Anglophile Frenchman Thibault De Montfort on oboe, MBV-enthusiast American drummer Tom Wenzel, and Southampton-born cellist Will Byers, who also contributed to The Tindersticks' orchestra under the name Will Burrows. Over the course of a year, the band honed their craft in small venues across North London, developing a performance style that transcended a standard gig and writing intricate melodic compositions such as "Nadja" and "Red Wine Song." However, Cole and Dolphin eventually decided to leave the group. The classic Bedlam Opera lineup performed their final show at their one and only record launch—a 7" vinyl double A-side featuring "Effervescent Architecture" and "When It's So Familiar"—in February 1998.

A year later, Beckett and Murphy attempted to keep the spirit of Bedlam Opera alive as a trio with guitarist and pianist Chris T-T, presenting a new collection of songs, though they struggled to recapture the creative essence of the Cole-led version from 1997. Despite their international character and artistic ambition, Bedlam Opera remained largely underappreciated compared to their more conventional contemporaries like Penthouse and Dream City Film Club, ultimately fading away before their potential could fully materialize.

Following the band's dissolution, Murphy found success with his primary project, Sergeant Buzfuz, while Dolphin continued to record and perform solo. Byers played with Kid, and Wenzel showcased his considerable talents on a European tour with Breed. Tragically, Matt Cole's return to Melbourne ended in heartbreak when he was killed in 2005 by a hit-and-run driver while cycling. His new band, Luzon, subsequently faced the same obscurity that had overshadowed Bedlam Opera years earlier.