Yellow Days: Rock And A Hard Place Tour presale codes

The project is the soul-forward alias of UK singer-producer George van den Broek, known for a sandpaper vocal and woozy, vintage-tinged grooves.

From bedroom soul to bandstand grit

He started with lo-fi home recordings like Harmless Melodies, then pivoted toward a road-tested live band that leans into dusty funk, psych, and slow simmer R&B. That shift from laptop to full ensemble is the big story now, and it gives the songs more bite and space for improvising.

Setlist moodboard

Expect core cuts such as Gap in the Clouds, A Little While, Your Hand Holding Mine, and The Way Things Change, plus a few newer, blues-leaning tunes. Crowds skew mixed-age: playlist kids up front, crate-digger soul fans by the bar, and couples happy to sway when the tempo dips. One fun tidbit: those early tracks were tracked at home when he was a teen, often keeping first takes with little comping to preserve the cracked emotion. Another: on stage the guitar tone often rides a mild chorus and tremolo, with keys adding woozy Wurlitzer colors for a late-night glow. Heads up: song choices and production details here are informed guesses from recent patterns and may shift night to night.

The Yellow Days Scene, Up Close

You will notice a lot of earth tones, corduroy, and soft knits, plus vintage sneakers and a few sharp suits on date-night pairs.

Small rituals, big heart

When the snare hits settle into a pocket, folks clap on two and four, and some hum the airy hook of Gap in the Clouds between songs. During A Little While, there is often a gentle call-and-response on the wordless oohs, more like a choir than a chant. Merch leans tactile: thick cotton tees in mustard or rust, a clean poster run, and records that move early in the night. A few fans bring disposables or Polaroids, trading shots at the bar and comparing guitar pedal guesses after the opener.

Scene notes

Pre-set music often nods to classic soul and 70s soft-psych, which cues the room to treat the show like a groove session rather than a shout fest. It is a respectful, listening crowd that still knows when to lean forward for the drop and when to let the songs breathe.

How Yellow Days Builds It Live

The vocal sits rough-edged but warm, gliding just behind the beat so the groove feels unhurried.

Arrangements that breathe

Guitar often handles the chord bed with light chorus and spring reverb, while keys double with a Wurlitzer or organ patch to thicken the low mids. Bass locks to a tight kick pattern, rolling eighth notes that make the slow songs feel like they are moving without getting louder. Live, the band likes to stretch intros, then drop the drums on verse two to lift the room. A neat quirk: they sometimes flip A Little While into a half-time bridge before snapping back, which makes the chorus feel wider when it returns.

Tone over flash

Solos are short, melody-first phrases rather than shredding, and the dynamics rise by layering keys or backing vocals instead of cranking volume. Lighting tends to live in warm ambers and midnight blues, framing the rasp and the slow-bloom harmonies without pulling focus from the band.

If You Like, You Might Like: Yellow Days' Circle

Fans of Tom Misch tend to click here because both blend mellow soul chords with pocketed, guitar-led grooves.

Kindred spirits on the road

Steve Lacy appeals to the same audience that likes wiry guitar hooks, elastic basslines, and a slightly off-kilter, bedroom-born polish. Rex Orange County overlaps on the tender, conversational songwriting and laid-back tempos that still feel big in a room. Omar Apollo makes sense too, trading in silky vocals, heart-on-sleeve themes, and R&B phrasing that flexes live with a tight band. Across these acts, the throughline is groove-first arrangements and hooks that invite low-key singalong rather than shout-along.

Why it fits

If those qualities land for you, this show sits in the same lane, with a slightly smokier, more vintage filter.