INHEAVEN, the newest band bursting onto the indie rock scene, blew apart the Brudenell Social Club.
INHEAVEN
Liverpudlian five-piece Paris Youth Foundation opened the night with the song that got them their first gig at Reading Festival: the rhythmic masterpiece “If You Wanna.” Their sound recalls indie-rock bigwigs The 1975 and Two Door Cinema Club but with a harder twist. With dreamy choruses, thumping beats, and powerful riffs, they carry the crowd along soulfully and masterfully. Their close-out is a soft-blue-lit dreamy breeze of a song: “Missing the Mark.” This is their latest release and the third since their debut. Its bell-like chords echo out long after the band step offstage.
The change is palpable in Otherkin, a Dublin four-piece. They are punchy, raucous, loud–everything you want in a band for a good gig. Their first ever album (released four days before the show, actually), OK, is a blazing punk new-wave full of infectious grungy anthems.
It took some coaxing from lead singer and guitarist Luke Reilly (“Are you still with us, Leeds? Do whatever you like!”), but the crowd does started getting rowdy. During the last song of the set, Reilly disappears into the crowd then reappears at the back of the venue to finish his riff.
INHEAVEN, hailing from south London, are a band currently residing in the definitions of “critically-acclaimed” and “up-and-coming,” and for very, very good reason. Having referenced pioneers in the 2000s shoegaze indie-rock scene such as My Bloody Valentine and Slowdive as big influences, it’s easy to imagine their sound even without hearing the thrashing riffs and snarls mixed perfectly with dreamy pop and floating vocals. Either way, their debut self-titled album is definitely a hit that shouldn’t be missed.
The four-piece seem to have developed something of an enthusiastic and dedicated following. One group was pointed out who had attended their London show. They flew in all the way from Ireland to see them.
The crowd heaves during even the calmest of songs, and lead singer-guitarist James Taylor invites mosh pits to begin during three of their heaviest (see: “World on Fire,” “Velvet,” and “Treats”), jumping in to join on the last to be hoisted onto their shoulders.