DMA'S presale codes in Southampton, GB

DMA'S rose from Newtown, Sydney, with Britpop-leaning guitar pop and a growing taste for dance textures.

From terrace chords to club pulse

Their arc moved from jangly, acoustic-driven tunes to the pulse-heavy shimmer of The Glow and How Many Dreams?, which frames the current live identity.

Songs likely to surface

Expect a set that swings from hush to surge, with staples like Delete, Lay Down, Silver, and Life Is A Game Of Changing. The crowd tends to be a mix of local indie fans and Australian expats, plenty of clean trainers and bucket hats, and pockets of dancers near the subs once the beats thicken. Early on, the band tracked key demos in a Newtown bedroom, and their tender cover of Believe helped widen their reach. You may also catch a mid-set acoustic pocket before the finale brings back the kick and strobes. These notes on songs and staging are based on recent patterns and could shift by venue or mood on the night.

The DMA'S scene up close

Terrace sing, club swing

The scene skews friendly and low-key, with fans greeting each other like a local club night rather than a costume party. You will see vintage sports tops, plain tees, neat denim, and the odd bucket hat, but the focus stays on singing.

Style that stays out of the way

Many know the first verse of Delete by heart and often sing it before the mic comes in, which sets a calm tone. When the beat-forward songs arrive, pockets near the front bounce in time while others sway and film choruses to share later. Merch leans simple logos, tour posters, and a vinyl color or two, and there is usually a steady line after the show. It feels anchored in 90s Britpop spirit with a modern club polish, a space where guitar romantics and beat hunters stand side by side.

How DMA'S build a chorus that lands

DMA'S center the show on Tommy O'Dell's steady, rounded vocal, which can whisper close then open wide for a clean top line.

Hooks first, tricks second

Guitars trade between chiming patterns and thick downstrokes, while the rhythm section keeps a straight, danceable pulse that supports long, rising choruses.

Small moves, big lift

Arrangements often start sparse, then add pads and a side-chained bass swell so the choruses feel like a lift rather than a lurch. Live, they sometimes stretch outros into four-on-the-floor jams, turning a two-minute tag into a crowd loop without losing pitch focus. A neat habit is flipping Delete to an almost solo opening verse before the band lands on the downbeat, which makes the hook feel earned. Lights favor cool washes with white flashes on snare hits, keeping attention on the vocal while giving the groove a frame.

If you like DMA'S, try these live cousins

Fans of anthems and angles

If you like Liam Gallagher, the sharp choruses and terrace-ready melodies will feel familiar. Fans of Noel Gallagher's High Flying Birds should hear the same blend of jangly chords and widescreen hooks, with a warmer vocal color.

Britpop roots, club edges

Kasabian listeners will connect with the four-on-the-floor turns and synth undercurrents that lift the back half of the set. If your playlists include The Kooks, the breezy strums and bright tempos line up, though the drops hit harder here. All four acts court big singalongs, but DMA'S leave more room for tender verses before the kick drum snaps you back to the chorus.