The band grew out of London pub stages, mixing baroque pop, glam guitar, and sharp storytelling.

From pubs to prosceniums

Their debut album Prelude to Ecstasy set the tone: drama in the melodies, grit in the rhythm section, and choir-like harmonies on top. Expect a set built around Nothing Matters, My Lady of Mercy, Caesar on a TV Screen, and Sinner, with room for a tender mid-show ballad.

Velvet, lace, and big choruses

The crowd skews curious and dressy: lace cuffs, velvet jackets, DIY corsets, and plenty of notebooks tucked in totes near the bar. Trivia: they played months of shows before dropping a single, and the haunting Gjuha features Albanian lyrics from the keyboardist. Another small quirk is their fondness for an orchestral walk-on, often hinting at the Prelude to Ecstasy overture before the first drum hit. Please note, my notes on songs and staging are inferred from recent gigs and could shift by venue.

Velvet Nights and Candle Pins

The scene leans theatrical without feeling strict, with fans mixing brocade blazers, ruffled blouses, and ribboned hair with worn boots.

Dress codes, not dress codes

Early on, phone cameras go down for the hush of a first song, then the room swells into an easy chorus shout on Nothing Matters. Handclaps surface during Sinner, while people trade knowing nods when the organ tones hit in My Lady of Mercy.

Chorus moments that travel

Merch skews thoughtful: lyric tees in serif type, enamel candle pins, and a small zine-style program that nods to old salon culture. Between songs you hear gentle chatter about arrangements, not just singles, and quiet cheers for deeper cuts like Portrait of a Dead Girl. It feels like a book club that stands up to dance when the snare cracks, stylish but warm to newcomers.

Strings, Stings, and Stagecraft

Vocals lead the night, with the singer shaping phrases like short plays, and the band lifting those lines with stacked harmonies.

Drama first, then drive

Two guitars trade roles: one chiming high, often capoed for bright ring, while the other carries thicker riffs and quick slides. Keys fill the baroque color, switching between string pads and harpsichord-like bites that push choruses forward. The rhythm section favors mid-tempo sway, then snaps into brisk grooves, so refrains feel like a door opening.

Small tweaks, big impact

A recurring live tweak: My Lady of Mercy stretches its bridge into a half-time chant before a sudden rush back to tempo. Lights stay jewel-toned and directional, framing faces and letting the dynamics tell most of the story.

Kindred Spirits on the Bill

If you like Florence + The Machine, the shared taste for cathedral-sized choruses and mythic imagery will land right away.

Kindred sounds, modern stages

Fans of Wet Leg often click with this band because both acts balance sharp wit with springy indie guitars. Mitski is a match for listeners who want theatrical tension and clear, story-first songwriting. For guitar craft and art-pop edge, St. Vincent points to the same lane of ornate hooks and controlled chaos.

Where art-rock meets singalong

All four favor shows that move in acts, with quiet-loud arcs that keep the floor listening and then belting. If those names live in your playlists, this night sits comfortably among them.