DAYTIME TV opens the night, and it’s clear they’ve found their stride supporting a band of Twin Atlantic’s stature. Their punchy riffs and infectious momentum create an immediate connection with the crowd. Tracks like ‘Block Out The Noise’ and ‘Lost In Tokyo’ grab attention with catchy choruses and a solid energy that keeps the room moving. DAYTIME TV don’t just play their set; they command the stage with confidence, seamlessly fitting into the atmosphere and setting the perfect tone for what’s to come.

When Twin Atlantic take the stage, they don’t waste any time asserting their dominance. The opening track, ‘Meltdown,’ surprises with its subtle energy, easing into the room with a quiet optimism that slowly begins to build. The song’s reflective, almost fragile quality stands in contrast to the intensity that will come later, but it draws the crowd in, creating an almost palpable sense of shared introspection. The first notes of ‘Yes, I Was Drunk’ follow, and the mood deepens. Frontman Sam McTrusty, a man of few words, speaks volumes with his presence alone—his connection to the crowd obvious, as he acknowledges the years of loyal support from fans who’ve stood by the band since the beginning.

From the first beat, the tightness of the group is clear. Ross McNae’s basslines anchor the sound, whilst Joe Lazarus’ drumming provides a steady, powerful backbone. Twin Atlantic may be a rock band at their core, but it’s their precision and clarity that set them apart from others in the genre. Each song is executed with an elegance and intensity that feels uniquely their own, a strength drawn not just from their technical prowess, but from their shared understanding as musicians.

The setlist takes the crowd on a journey, navigating through highs and lows, each song contributing to an emotional arc that pulls the audience closer. As ‘Free’ floods the room, warm golden lights bathe the crowd, heightening the song’s message of liberation and possibility. The atmosphere is light, but there’s also an undercurrent of power, the crowd singing in unison with the kind of tangible feeling that only a live show can evoke. When ‘Hold On’ hits next, the mood shifts. The lighting turns cooler—blues and purples swirl with smoke, matching the urgency of the lyrics. The intensity builds, and the crowd responds, bodies swaying together, carried by the song’s unrelenting force.

‘Brothers and Sisters’ pushes the crowd into a frenzy, McTrusty’s voice blending effortlessly with the chorus of voices in the audience. There’s no barrier between band and fans here—it’s a shared moment of connection. The room transforms into one pulsating unit, as the crowd sings in unison, caught up in the power of the music. The camaraderie is electric, a living, breathing thing that keeps the night moving forward with an undeniable sense of unity. The night reaches its peak with ‘Heart and Soul’ and ‘Crash Land,’ and by the time the final notes fade, the air is thick with a sense of satisfaction. The applause is deafening, a collective recognition of the emotional journey the band has taken them on.

Twin Atlantic’s performance at Electric Brixton isn’t just about skill—it’s about creating a moment of togetherness, a shared experience between artist and audience. Every note, every lyric, every beat builds a bridge between them, making the show more than just a concert. It’s a reminder that music, when done right, can break down barriers and connect us all. The night lingers long after the lights come up, not just because of the music, but because of the profound sense of kinship that Twin Atlantic fosters. It’s that authenticity, that ability to connect, which makes them one of the most compelling acts in modern rock.

JESSICA MCCARRICK

Words: Jessica McCarrick and Photos: Penny Bennett

Loathe

The day kicks off with Loathe whose metalcore sound is served up with tight precision, undoubtedly earning them some new fans among the crowd. Vocalist Kadeem France has a way with his vocal delivery that lets him transition between guttural screams and hauntingly clean vocals throughout the set as needed. ‘New Faces in the Dark’ is a prime example of the band at their best, a gritty song that sparks crowd engagement, defying the trap of the early slot with ease. A wall of death soon follows, and a Sunday afternoon in the sun surrounded by black-clothed, tattoo-clad fans doesn’t get much better. Concert etiquette has been circling the drain for the last few years, but let’s not count metalheads in that discussion if this set is anything to go by. By the end of the performance, the crowd that has amassed is a sure indication that the day is well and truly underway—and that Loathe are one to keep watching.

Wargasm

Next up is Wargasm, whose anarchic chaos shifts the atmosphere dramatically, but the crowd welcomes it. It is in the differences across these artists where the nuances of the day’s genres come into the fold. Milkie Way and Sam Matlock’s chemistry is transfixing when onstage; the pair feed off each other and their bandmates like no other. Opening with ‘Venom’ from their latest album sees the riot begin. Their infectious punk attitude makes for a thrilling live show, relentless from start to finish. The set culminates with ‘Do It So Good,’ a lyrical mash-up that balances comical irreverence with sharp, biting edge—driven home by Milkie Way’s playful delivery. Wargasm proves to be an irreplaceable pick for the undercard, pulling no punches and coming good with energy in spades.

Spiritbox

Due to schedule changes caused by some absences, Spiritbox find themselves in a perfect transitional slot as the sun begins to set. The band takes full advantage of this twilight moment, where the fading light and lengthening shadows create an atmosphere ripe for transformation. Their performance feels almost otherworldly, thanks mostly to Courtney LaPlante’s voice, which is breathy and angelic in places where it needs to be, but also commanding, like a visceral growl to carry crowd-pleasers like ‘Jaded’ and ‘Holy Roller’. The crowd surges throughout, drawing in more and more numbers with brutal renditions from their discography. You have to applaud the guitar work of Mike Stringer, whose delicate ownership of the instrument matches LaPlante’s stage presence, ensuring that every note cuts through like an ambush of metallic touchpoints. The sonic landscape that slowly unfolds across the stage’s horizon blends both beauty and brutality.

Korn

Now night is finally upon us, and the 25,000-strong crowd merges into one as we await the arrival of the day’s headliners. The atmosphere settles into a hush as the subtle strains of ‘Rotting In Vain’ create a serene prelude, only to be shattered by the opening riff that erupts through the field, captivating everyone in its wake. Witnessing the pioneers of nu-metal is nothing short of breathtaking; with thirty years under their belt, their experience manifests into a ravenous machine on stage.

Pits open up, drinks are tossed, lyrics are chanted with fervor. Frontman Jonathan Davis approaches the set with a seemingly instinctive presence, allowing him to roll darkly across the stage with a menacing temperament, all while wearing metallic trousers which is no easy feat. His vocals oscillate between rapid, intense phrases scattered throughout songs and brash vocal prowess.

Settling into the rhythm, we get ‘Good God’ followed by ‘Blind’ in quick succession, leaving the crowd utterly spent. The deep and resonant riffs crafted from their signature down-tuned guitars seem to emanate from the very earth, creating a sound so uniquely Korn that it’s almost as though the notes didn’t exist before they first played them. The band is battle-hardened, and it shows; with raw mastery, they bridge past and present while reigniting the nu-metal flame.

The show’s high point happens just before the encore, with ‘Y’all Want A Single,’ that leaves the crowd screaming “Fuck that” in unflinching response every time the question is asked. Metal is made for these moments, putting whatever frustrations and rage we have into a singular lyric. Looking around at fellow audience members, we all come together and, for a moment, unite in anguish, experiencing a cathartic release.

The encore, heralded by the haunting strains of bagpipes in ‘Shoots and Ladders’, is a grand finale that leaves nothing on the cutting room floor. The continual interplay of visuals across the stage’s screens change with each song, like chapters in the set. ‘Twist’ and ‘Freak On A Leash’ are no surprise to this segment, and with all their momentous production, the crowd clearly finds it a prime way to close the evening.

The final moments linger on fingertips, and a now darkened arena is alive with the hum of significance; Korn are a force like gravity, holding us in a space of profound musicianship.

JESSICA MCCARRICK

State Champs kick off our evening with a full embrace of their emo sound, evidently resonating with the crowd as their raspy voices filling the room in support. The band brings with them a cohort of fans who spend the set crowd surfing, successfully setting a tone for the evening – the same can be said of the band as their energy lingers with us even after leaving the stage.

With vocals that teeter on the edge of a roar, Mayday Parade holds nothing back for the short time they have with the room, ensuring to fill it with the noise of their purest pop-punk sensibilities, marked by relentless drums and ferocious guitar riffs. Their introspective musings, though a different energy to what is upcoming, hold true to the roots of the band. Finishing with crowd-pleasers ‘Jersey’ and ‘Jamie All Over’, the final taste left in the mouth is that of ferocity, and now the stage is set.

Simple Plan frontman Pierre Bouvier has to take a breath as his eyes flicker beyond the headlights of the stage, he’s showing a clear sense of awe as the black clad audience begin to swim in front of him to the beginning riffs of ‘I’d Do Anything’. Throughout the song, drummer Chuck Comeau cuts through with rapid precision, his eagerness to hit each note resonating with the swelling crowd as we meet the first chorus. The unfolding setlist only ups the ante, with songs like ‘Jump’ inciting mass dedication to the lyrical instruction. 

It’s easy to see the members’ smitten faces, lips turning upward, cracking smiles and exchanging sideways glances between moments. Their energy is kinetic, the stage heightening the best parts of them, whether it’s Bouvier’s charisma on the mic, guitarist Jeff Stinco’s spotlighted solos, or their guidance of audience members on stage for a fan photo op that brings nothing but a sense of camaraderie. 

As we are swept through their career highlights like ‘Addicted’ and ‘Welcome To My Life’ it’s still easy to find the joy in them. Sure, the words may play into juvenile stereotypes, but at some point or another, everyone in the room felt understood, and that feeling lingers.

The show’s levity shines through when the band performs ‘What’s New Scooby Doo?’ A fitting moment where pop culture meets pop culture, forever solidifying the band’s legacy whilst still playing upon their comedic edge. In an era dominated by fleeting successes, you can’t help but wonder how a band can stand out? Well, why not write a theme song for a misfit-ridden mystery cartoon that perfectly epitomizes the  core of what you stand for? The crowd revels in the moment, thrashing in time with the cutting guitar melodies overlaid with distortion, evoking the time it was written.

Some frontmen can feel formidable, as if they weigh the room down, but this is not the case for Simple Plan. Bouvier exudes a natural presence, his steps light, his quips funny, and his voice unfaltering. He makes it look easy without arrogance, charismatic without eagerness and relatable without inauthenticity. It’s these qualities that make it easy to understand why the band has sustained themselves for decades. Despite their music evolving through numerous eras, they seamlessly tap into each album with grace. We can all name a few bands who stand resentful of their past releases but Simple Plan are not one of them. The crowd is mirroring the genuine enthusiasm of the band, this being the case for the whole setlist, deep dives and new alike.

Bouvier decides it’s time to swap places with Comeau and both are able to take the others reigns with ease. Where drummers sometimes get lost in the mix during live shows, that’s not the case tonight. His bassier voice carries through up into the rafters and Bouvier’s kick drum remains in sync, the moment is a testament to their cohesion and skill.

The band tightens their grip with the final procession of the encore. ‘I’m Just A Kid’ becomes a portal back to childhood angst when youth was still the problem, not one foot remains on the ground, and we’re jumping in meaningful synchronicity, reliving once again a moment in time, but this time… we’re together. Simple Plan reminding us why they continue to be a beacon for outcasts and alike, a rallying force for nonconformists – and what a night to celebrate that.

JESSICA MCCARRICK

Their new album’s lead single ‘Where Did All the Guitars Go’ is soon bouncing around on metallic strings, as the room lights up with technicolour. Hands are flying up in the air, generations old and new finding companionship in the riveting excitement of the show’s beginning. The hall is brimming with synchronicity as movements reflect the distortion emerging from the riffs of the track. This album has hints of a rockier edge, seen clearly on the following ‘Land of the Bees’. Flames are dressing the poignant moments – quite the sight to see – and if there’s one thing Alexandra Palace lends itself to, it’s production value. The boys are taking full advantage of that. 

A whistlestop tour of their hits sees index fingers in the air chanting “one, one, one” over and over again for track ‘One For The Radio’, a thunderous boom in the hands of the ten thousand that make up the capacity of Ally Pally. Suddenly we’re swept into ‘Star Girl’ as the band side step in unison back and forth across the stage, a moment of comical levity displaying the still infectious connection the four have. This segment ends with an audience member on stage to play an instrument that “none of us can play” exclaims Danny Jones – and that was of course a cow bell. So follows a momentous peak where a front row fan got to be the core beat of ‘Everybody Knows’, to the deafening applause and enjoyment of all watching. 

The show was a who’s who given the number of guests that appeared amongst the setlist. Rou Reynolds of Enter Shikari brings his magnetic stage presence to track ‘Corrupted’, hinting at the heavier tendencies McFly have leaned towards in the latter parts of their career. Not only that, but James Bay also meanders on stage, fedora on his head, joining them in a cover of ‘Hold Back The River’ which is met with audible gasps throughout the room. Bay is another icon of modern British music, pairing his vocals with those of Jones and Tom Fletcher creates a silky harmony softly bouncing around the walls – a breathtaking moment. 

After listening to the length of the setlist, you have to applaud what the band manages to bring to the live counterparts of their recorded discography. You wouldn’t be mistaken if you thought we were at a full on rock show, with rumbling clashing of wild bass riffing deepening the heart of each track, and unsoftened high hat taps on the drums bringing a quickening pace of energy to every beat. The four piece are quite the cohesive power unit.

A moment of respite arrives with an acoustic rendition of ‘All About You’, where Jones and Fletcher display their angelic vocal ability as Fletcher also gestures to the rafters in tribute to his wife. ‘Not Alone’, is an emotionally flooded moment showing the full scope of their respective vocal range proving that you can say what you want about them, they sure can sing. 

Closing the show feels like an odd right of passage for all the McFly fans that grew with the band and still hold a place for them in a modern era where British boy-bands don’t occupy as much space as they have in the past. With a memorable shred of quick chord succession comes what could’ve been the soundtrack of the era; confetti of five colours canvassing the room from ceiling to fingertips. ‘5 Colours in Her Hair’ is a fitting end to a show that holds a lot of weight. McFly, 25 years later, showing that they stuck around for a reason, only continuing to develop their craft and they never stopped loving it. You can see it in their grinning faces as the room, for the final time, falls into darkness. 

JESSICA MCCARRICK

Opening with ‘Anthem Part Two’, drummer Travis Barker begins with palpitations on his drum kit as all falls silent, soon followed by the metallic twang of a guitar and the crowd starts to churn with motion. It’s a zero to one hundred moment apt for a band that rarely leaves anything in the dressing room. Lyrics, “we really need to see this through” is a fitting motif to mark the set – and the tour for that matter. Immediately following is ‘The Rock Show’, a middle finger meets meta moment lyrically for the band; the members clearly have a lot of fun with it. 

The audacious nature of the band’s crude but iconic lyrics are easily understandable in the moments between songs. With a carefree irreverence, the returning DeLonge lets slip that “all the people from last night were ugly”, an incentive to scream louder if ever you’ve heard one. These small moments of crowd interaction are met with laughter as DeLonge and bassist Mark Hoppus riff between each other, showcasing how a friendship as long and complex as theirs leaves a bond that doesn’t take long to reconfigure. 

As we enter the second half of the show, a giant red van descends from the rafters during the slight respite of the slower paced ‘Up All Night’. To the momentous surprise of the room, the van begins to turn with the approaching bridge of the song to reveal the nurse from the cover of album ‘Enema of the State’. With this, we are plunging into ‘Dysentery Gary’; guitar and drum began to hum in unison as the notes seem to blend into one another, with a ferocity like no other – relentless is the word as following on is ‘Dumpweed’, another song that ups the ante of musical limits. Pyrotechnics – a staple for the band – sees fire blaze around their performance space, even their backdrop is on the edge.

A complaint if there is one, is that Blink are very much an all or nothing band, their live set is lacking the nuance and variance that their discography seems to have. Maybe criticising them for bringing what can only be described as unceasing pace to their tracks is a little unfair considering how well the pit seems to take this change, only perhaps rivaled by the screams coming from the rafters; however it’s noticeable with track ‘Stay Together For the Kids’. The live version melts with anonymity into the setlist, whereas the recorded counterpart has a grander and more poignant composition that takes its time to build.

Barker’s talent is mesmerising, and it’s easy to get lost in the insatiable drum patterns he maintains throughout the entire show. He is hoisted into the air with his kit as he plays back to back tracks downwardly titling to the audience, yet his composure doesn’t even flicker. DeLonge and Hoppus spend minutes baiting the crowd into thinking Barker is dying to speak to everyone, and when the moment finally comes, all he says is “Hey London” before continuing drumming to the great pleasure of the crowd who love the raucous moment. These three know how to play to all their strengths, a harmony from three decades of musicianship, and Barker’s desire to perform is purely musically based – and with skills like his, you really can’t blame him.

They play the iconic Top Gun melody to open ‘What’s My Age Again’ which, considering their blatant Americanism, seems a fitting addition and nod to the contemporary success of the story in the film. It draws parallels with the band themselves, a symbol of the states that still transcends what it represents – a line that is so carefully tread by the band and their music. With this, they are officially on a whistle stop tour of their greatest hits. Whether it is the band being drowned out during the crowd’s voices chanting the “where are you? And I’m so sorry” of ‘I Miss You’, or a whirlpool of space for a pit opening as ‘All The Small Things’ starts. The nostalgia packed within this final half an hour is more than most band’s can say about their setlists. 

No one can discredit blink 182 on their legacy, and what is better yet still is that the threesome still go at it with the same adolescent vigour of days past. They are where technical skill meets childish candour – a combination so distinctive you’d only need to read that to know who this review showcases.

JESSICA MCCARRICK

With the audible rip of shoe soles being lifted from a floor sticky with spilled pints and sweat, frontman Cole Haden clutched a can of fuel for the masses – Stella Artois – as he took the stage. His can hand slowly rising above his head to grant the crowd a good night, for which we resolutely saluted him back. With a drawn-in gasp and a look of red-hot excitement flashing across his eyes, Haden stared into the darkness as the faint ring of a rippling guitar riff met static amp airtime. We cascaded down the rabbit hole of ‘Donkey Show’ with staccato vocal delivery and the dominating high hats of drummer Ruben Radlauer that crashed around the room, while the striking whip crack of ‘Mosquito’ saw the high-pitched guitar notes of Jack Wetmore converge into an alarm like whirring. The room was heavy with movement as the pit tried to keep up with impossibly fast lashings of sound, until as quickly as it began, the room went quiet again; the silence feeling louder against what had come before.

Haden coyly stated that it was the band’s first time in the UK, admitting he “ought to get to know everyone a bit better” before leaving the stage to parade around the far corners of the venue, stopping only to lock eyes with a lucky few. His demeanor was unpolished yet confident, seductive in manner but directionless in tone. Every step, every glance, seemed calculated with a distinctive slowness. There was nothing to do but stare in awe and wait in anticipation.

The ground seemed to melt away as he began to strain under the weight of the line “I’m pressed against the glass, as close as I can take”. Somewhere, lost in the background, was the relentless ticking of drums that set pace whilst a screech of distorted guitar rang over itself, building. The track, a cacophony of industrial elements, created a darkness layered underneath the lyrical content; the walls seemingly closing in around us. Haden began to grunt and strain as tears rolled down his face and his head shook from side to side, writhing in the pain of the moment as the band slowed, jarring against each other and then nothing… But with the simple flick of Haden’s smile and a breath from the band, the room opened up again. Their music so experimental and intense it seems to create its own atmosphere.

Their set was brutally heavy in moments – guitar led ‘Slate’ left the room thrashing around in angst and sweat, living up to their live reputation and playing with genre lines. Whilst ‘Maria’ and its moments filled with exaggerated cadence and bass riffs that buzzed ferociously left a bittersweet taste in the mouth as the vocals bounced around, untied to the set instrumental melody in defiance of musical convention.

The crowd did though have its time to hit back as hard as the band were hitting, as Haden struggled to knock back his Stella to an inevitable countdown chant – perhaps the only moment he was notably out of control. Radlauer subsequently proved his effort level by breaking his kick drum pedal mid set. Haden playfully toyed with his mic’s sound board to give us a melting vocal and a moment of levity.

As the set began to close, song ‘Pure Mode’ was a performance highlight. Wetmore rocked his whole body up and down, up and down, in rhythm with his scuttling fingers running across his fretboard with manic precision, and Radlauer’s arms were a blur with speed, crashing across the kit. Haden bellowed “I don’t mean to scare you, but I can’t talk right now” as he flicked his microphone above his head and mocked firing into the crowd. His precision – combined with the rumbling, scathing bass notes of Aaron Shapiro – created a shocking moment, poignant as the room went black.

They closed with the final song from ‘Dogsbody’ – their latest album – ‘Sun In’ and we were left blinded with the haunting delivery of the track’s closing motif “so bright with the sun in my eyes”. In that final moment, the collective in the room seemed to find a voice in the song – subconscious or otherwise. Long gone was the group’s harsh discordance, what remained in its place was instead the same static ringing that marked the show’s beginning and now its end. Model/Actriz have carved a set contained within its own atmosphere, crafted at every level – bravo. 

JESSICA MCCARRICK

Tour Dates:

02 November: Club To Club, Turin – Italy
04 November: Yes Pink, Manchester – UK
05 November: King Tut’s, Glasgow – UK
06 November: Hare & Hounds, Birmingham – UK
07 November: Dareshack, Bristol – UK
08 November: Fabric, London – UK
10 November: Revenge, Brighton – UK
12 November: Le Guess Who, Utrecht – UK
13 November: Helios37, Cologne – Germany
16 November: Gannet, Basel – Switzerland
18 November: Primavera Weekender, Benidorm – Spain
20 November: ZBD, Lisbon – Portugal

With a blinding flair of lights, frontman Rou Reynolds broke into the opening melody of recent single ‘(pls) set me on fire’, where he delivered on a high falsetto that instantly saw a rush of hands form the iconic upside-down triangle – a symbol the band have carried with them since the beginning. Light poured through fingers and onto faces in a moment of unity. That moment passed as fast as it came as the immediate hyper high tempo synth explosion of ‘Juggernauts’ snapped us back to reality, an audible spell that tore the crowd apart to form a room sized pit. The next collection of songs were torn through with the moment blurring via the constant collisions of bodies.

The one thing consistent through any Shikari gig is that you can count on an eclectic mix of people present, each probably collected during a different era of their sound – from metalcore to indietronica, they all come out in throngs to watch. Although the cult group have long since eclipsed the roots of their initial sound, their rebellious nature still rings true even as they’ve evolved. This is partially due to the unwavering charisma of frontman Rou Reynolds who often engages in poignant rhetoric mid set to ground the political lyrics everyone is accustomed to in levity and grace.

Reynolds noted eagerly that the quickfire round – a staple of a Shikari show – was to be updated for the 21^st century. What we came to realise was this meant the electronica elements were faster with a techno edge. ‘Sorry You’re Not A Winner’ was condensed to a two minute blitz with the infamous three part clap echoing against the well-tuned space. Though it was slightly disappointing to not see a full version of the song, along with ‘Havoc B’ and ‘Bull’, it was refreshing to hear the elevated deepcuts.

The relentless pairing of grand synth soundscapes with a mesmerising light show was a sight to behold. A synced-up harmony of instrumentation and production made the pulsing lights illuminate shadows that danced across the stage. Reynolds admitted they were under rehearsed since it was the opening show of their latest tour – but even with the slightly choppier elements, they are a band that excel in the improvised, with it even adding an element to the sound.

Unequivocally preaching on topics from environmentalism to LGBTQ+ rights is a core part of Enter Shikari ethos; it never could be seen as inauthentic. That feeling was marked in the encore as ‘satellites* *’ pulled us all in close and confetti trickled through the air. Their integrity is perhaps their greatest strength, as they continue to lead by example in dedication and quality. They are a joy to behold, with a serendipitous nature that creates an infectious frenzy when translated to a live show.

JESSICA MCCARRICK

He opens the night with a debut live performance of track ‘Broken Piano’, a haunting choice as the sombre lyrical tone and minimal backing seems to take the breath out of the room. We had only seconds to sit in the thick atmosphere as it came to an end before Turner and his band The Sleeping Souls kick into gear for happy-sad anthem ‘Recovery’. It’s an intimate tale of self-sabotage, turned hopeful recanting of love – it clearly hits a nerve for most, as the audience happily indulge in joyous involvement. We sing along with a determined anguish, as the tone of the guitar and the light vocal delivery give its ominous words an air of something yet to come. We’re hopefully no longer looking at a Turner who would write those words, and the reflective element of this performance is therefore a treat to behold.

After finishing the opening segment of the show, Turner begins to monologue about the importance of the album the songs had come from, ‘Tape Deck Heart’. It was the tenth anniversary of the album’s release and so the gig became a place to celebrate the record in its entirety. A smooth applause erupts from the crowd, full of fans who appreciate a live show filled to the brim with deep cuts.

‘Plain Sailing Weather’ is a blizzard of rapid and melodic guitar strums that buzz on the strings with eagerness as the light hints of drums come into the mix. The entire song continues to build until the chorus drops and each element increases with volume and ferocity. It was clear to see as Turner beamed that this is a favourite to play live as he bounces across the stage – his impressive vocal power never wavering.

The album was brought to an end with ‘The Way I Tend To Be’, the intrepid revelation of Turner’s heart met with silent admiration. Its folky backing guitar strums are played with cheery resolution, until the bridge where everything is stripped away. A spotlight lingers on Turner allowing his emotion to set in for the final lyrics.

He reminisces about leaving punk, to the dismay of those around him namely telling him that “he’s having a psychotic episode”, all but his manager Charlie who he then thanked profusely for believing in the change. His anecdote was met with laughs from all, a moment where we could all reflect on the legacy of the British act.

Turner and his band hold nothing back in final songs ‘Try This at Home’ and ‘I Still Believe’ – their power is palpable. For every tamer moment of stripped back simplicity there is an equally poignant crescendo of instrumentation. Throngs of people – friends and strangers alike – linked arms, singing and jumping around to the optimistic but grounded lyricism of Turner. It truly is moments like this where you can’t argue that there’s a better thing on earth than live music.

JESSICA MCCARRICK

Two well placed strobe lights begin to flash sparsely, plunging the room to and from darkness, immediately changing the atmosphere. The silence is broken with the beginnings of ‘Fire & Ice’ which sees a masterful concoction of distortion layered over that infamous and eccentric riff. What becomes clear in this song and throughout the set is their total control over the reverb and pedals they use to craft their iconic instrument tone. It seems almost second nature to the duo as they paint diverse sound over the room.

We jump quickly into ‘Cleopatra’ which highlights Amy Love’s impressive delivery, with her diction being second to none. Love’s harsh pronunciation and vindicated style makes sure she isn’t overshadowed by the immense instrumentation combinations throughout the set. However, when needed, her subtlety and control on songs like ‘Puzzles’ – where the chorus is decorated with smooth vocal melodies – is masterfully handled.

Weaved throughout the show are electronic and poignant sounds that mix well with their hyper and zesty performance style. Nova Twins’ production is a cleverly devised mash of tones that riff together, its improvised nature working with the dynamics of the duo, hinting at the fun they have on stage. This musical sparring is exceedingly fun to witness.

The staging is very impressive and thought out given the size of the performance space. Bassist Georgia South’s hair flies back in a rush that was indicative of rockstars past and Love stands bathed in bright light, stood in front of a strobe that eclipses her whole body with an ethereal ray. These small touches make all the difference in the power a show has, taking it beyond the music, deepening the impact.

They mentioned their Brit nominations and thanked us all as they played one of their first ever singles ‘Bassline Bitch’, laughing about being rusty before they began and reminiscing about their roots that are tied to venues like The Lexington. We were thrust into darkness once again as the girls play song ‘Antagonist’ which has become their most successful single to date. The high-pitched riff that is met with a deep bass accompaniment spurred headbanging from all and the show came to a close with a raucous version of ‘Choose Your Fighter’.

Nova Twins are infectious, bubbly, and downright loud. Meticulous detail was given to all facets of their Lexington live show which was immersive and thrilling. They truly are artists in every sense of the word, and masters of their craft.

JESSICA MCCARRICK

SNAYX were undoubtedly a great undercard to set the tone for the evening. Their sometimes-muddy sounding recorded work was outshone greatly by their live counterparts. Frantic guitar with powerfully melodic drumming came together in a succinct way – telling of a band who favour the live setting. They covered Slowthai’s ‘Doorman’ – an energetic and raw track lyrically that translated well into a new genre – it seemed to fit the rugged characters of SNAYX rather well. Their final song was met with the push back of the pit opening, which was immediately vetoed by the magnetic frontman Charlie Herridge who favoured instead everyone pulling forward and getting the crowd to jump in unison to the beat of upbeat song ‘Fayx’. This became a core moment of the night, one in which everyone in the room could enjoy the rush of a surging crowd, without being alienated by the harshness a pit can create. By the end of the set, the crowd was flushed and full of energy – SNAYX no doubt gained a room full of new fans.

The dull hum of a droning amp hinted at the beginnings of the show, added to this was a clock-like ticking that accompanied Kid Kapichi as they strolled on stage – looking the part. Frontman Jack Wilson donned a fedora style hat and modern suit that was ironic giving the ticking that soon turned into the first beats of the infamous ‘5 Days On (2 Days Off)’. The crowd bellowed back to the band with an eager malice that was telling that we all have the same experience as the song details. The glitzy ‘Glitterati’ and classic ‘Fomo Sapiens’ soon followed with the former’s showy lyricism at home in venue it filled.

What punk gig (or any gig these days) isn’t a host to a chant of “fuck the tories” at some point? This was met with drummer George Macdonald eagerly backing the screams with a solid drum beat that was met by the jovial laughter of his bandmates, clearly enjoying the improvised moment. Ballad ‘Party at Number 10’ followed this moment and for a single song, the crowd was still, singing along with a disturbing calmness to the bitter pill it makes you swallow.

The crowd was enthralled and totally animalistic as it heaved around the floor of the venue. There was no designated pit – it overtook the entirety of the crowd. This was encompassed most with song ‘Violence’ – it’s playful lyrics “Violence is never the answer – unless it is” matched the feeling in the room and the looks on the faces of many. This lyric erupts into a brutal guitar riff that echoed with certainty around the room.

You have to hand it to KOKO as well, the sound quality is second to none amongst venues of a similar size. Perhaps due to the acoustics or the new refurb, or attention to detail of the sound crew, but no moment was too small to capture. Each note and the tone and force behind it was audible with a crystal distinction. This emphasised the musical talent of the foursome, who are perhaps known best for their proactive and political lyricism, but this show seemed to be about just as much the instrumentation – a refreshing look at the band. Bass player Eddie Lewis was a highlight, he danced around with a charming edge seeming to get funky to every note he played, toying with the crowd as he went.

They finished the set with an encore of ‘Smash the Gaff’ and the long awaited crowd favourite ‘Death Dips’. It was a duo to behold, and a fantastical way to end of physically gruelling set. What little energy the crowd had left was thrust into these final songs as the sea of people once more became a pit of emotion not to be mistaken for rage – but for passion. Kid Kapichi ignite something in their listeners – never more than in a live setting and let’s hope that this fire never goes out.

JESSICA MCCARRICK