All photos © to Paul Reynolds.

The Orielles – Birmingham O2 Institute 6.3.20 live review

From the get go The Orielles have quickly become a band everyone that likes an upbeat bouncy tune with elasticated bass lines, drums that sound like a cataclysmic power drive to the mind, guitar lines that travel into the stratosphere and then back again, plus keyboards and effects that lift the band natural sequencing to a loftier realm, seeing the band in a live setting does little to soften these claims as the band perform with a bountiful amount of energy as witnessed at Birmingham’s O2 Institute, the final date of their recent UK tour.

With a perfect blend of new and old material the band excite the crowd over and over again when the familiar strains of the likes of Come Down On Jupiter, Let Your Dogtooth Grow and Blue Suitcase shift the momentum of the crowd into hyper drive, certain sections of the crowd po-going along as Esme, Henry and Sid gleefully bound from one song to the next. Some of the highlights of the set are Memoirs of Miso, a chillingly dynamic number, full of the sort of exciting electronics New Order and A Certain Ratio have used to bring their names at the top of the trees. The track also features a stunning echoy guitar solo from Henry before all the band join back in for an elongated jam straight out the top draw, mesmerising the audience.

Disco Valador is another highlight with Esme taking centre stage with her joyful enigmatic vocals, she is a master of her own spotlight, drawing in the crowd with her funk basslines, Sid is like a 100 metre runner at the starting blocks each time she is ready to start playing the drums. She perfects the start, by the middle distance she is gliding with expertise whilst by the time she’s at the finishing post she is ahead of her rivals by a stretch. These cool cats are a delight to behold, hopefully they will go from strength to strength playing similar or bigger venues by the time their next album drops.

The Orielles can be found via their own website. All photos © to Paul Reynolds.