LIVE REVIEWS
For many emerging names, the height of ambition is breaking big stateside: attending writing camps in Los Angeles, performing on late night television shows in New York City. Not Elmiene. On stage at Alexandra Palace Theatre, the British-Sudanese musician makes his intentions clear: “I’m in my favourite place in the world right now,” he says, shortly after a commanding rendition of ‘Open Light’. “Not the US or Sudan. This is where I want to be: Hornsey.”
He’s being deadly serious. Throughout an hour-long set, 22-year-old Elmiene (born Abdala Elamin) repeatedly makes reference to everything this north London suburb has offered him: from ample places to write music to the “perfect venue” for tonight’s headline show, a cavernous, Victorian era space defined by its antique beauty and decay. These unshowy surroundings, plus a backing band dressed in all white, allow Elmiene’s full-bodied baritone to hold centre stage this evening (April 4); no tricks, no gimmicks – here is an artist intending to make a statement on his own terms.
Elmiene’s breakthrough few months mean that it’s unlikely he’ll be gracing venues this intimate again, other than by choice. In October last year, he released his ‘Marking My Time’ EP, a collection of muscular, booming R&B songs and starry-eyed declarations of love that showed off his nous and versatility via buoyant production quirks. He has since earned vast critical acclaim and co-signs from Sampha and Stormzy; his story is one of a much talked-about prodigy evolving into the real deal.
All of this translates into an assured live show – Elmiene’s confidence as a performer is dazzling but also grounded in substance. The slow-burn catharsis of ‘Marking My Time’ is heightened by a marching drumline, before ‘Mad At Fire’ sparks instant audience recognition. In fact, it is all so smoothly paced – from the constant use of gentle smoke machines or how the segues feel seamless – that the more emotional moments pass with perhaps less impact than intended.
Still, there’s a thrill to be found in witnessing a new artist playing a gig with real conviction, one that is free of cliché stage chat. As Elmiene prepares for his next chapter, there’s a sense that this performance will draw a line under his current era. He seems at peace with his rapid ascent, too, cracking self-deprecating jokes about his early career in the brief moments he pauses for water.
Even the few minutes Elmiene spends mimicking a standup routine can’t stall the momentum leading into breakthrough hit ‘Someday’, which he sings beneath a golden stage light. As the final chorus approaches, he removes in-ear monitors, tilts his head back, and basks in the glow.
‘Why’
‘Crystal Tears’
‘Shame’
‘Marking My Time’
‘Choose You’
‘Avalon’
‘Mad At Fire’
‘Open Light’
‘Diane’
‘Endless No Mores’
‘Mama’
‘Sweetness’
‘Anyways’
‘Someday’
LIVE REVIEWS
For Good Neighbours, everything started when they found their rhythm on social media. The project of songwriters Oli Fox and Scott Verill – who have previously released spritely indie-pop under various monikers – has maintained momentum on TikTok this year, via a lengthy roll-out of demos and behind-the-scenes footage. It’s a savvy, if slightly fatiguing tactic: the duo teased debut single ‘Home’ in dozens of videos, tagging each clip with general statements like ‘POV: you’ve found your roadtrip soundtrack’ or encouraging listeners to indulge in a main character moment.
It’s perhaps no surprise then that the loudest audience ovation is reserved for when Fox makes mention of the platform tonight (April 24). “Some of you may know us from TikTok,” he says knowingly. “And we took a bit of time to release an actual song.” The band are self-confessed super fans of Bleachers, and their blueprint is clear: big, washed-out, atmospheric tunes with lyrics about life-changing friendships that could find a place in Spotify’s Gen Z-targeted Lorem playlist.
This seamlessness is not lost on stage. When played live, ‘Home’, recent single ‘Keep It Up’ and a handful of unreleased tracks slide and swirl into a bright, easy-going pop haze. Beyond giving the former some extra gusto, replete with a multicoloured light display, there’s little to differentiate some of the newer material: Fox’s delivers ‘Ripple’ with a high-pitched cadence, occasionally straining to be heard atop a three-piece backing band.
With a silver chain lightly bouncing atop his graphic t-shirt as he wiggles around, Fox is an affable performer – and it would perhaps be churlish to put Good Neighbours down for the cheerfully uncomplicated mood that their melodies inspire. The energy in the room is very much ‘good times, all the time’, with music that you could call warm and familiar, buoyed by some big-chorus magic (a Grouplove redux, even).
Fox and Verill’s vision translates best during a more freewheeling ‘Daisies’, during which they rip into guitar solos and leap about joyously. It sparks the question: with a little more grit and wonkiness, could Good Neighbours, like their peers Royel Otis, make the leap to festival stages? Having successfully made an impact in an oversaturated online space, there’s enough here to suggest that they’ll soon take the next step.
