As a group, Pale Waves have been releasing under the British independent label Dirty Hit since 2014 and have pretty much cemented themselves as a festival regular with four well-received albums under their belt. Critics have noted a frequent genre shift in their discography, something I found heavily reflected in the setlist, and thrown out comparisons to both The 1975 and Avril Lavigne. These aren’t unwarranted, but the jumps don’t feel completely outlandish. It’s an amalgamation that fits.
Soon, it became apparent that even a biblical downpour couldn’t stop the fans. I trudged through endless puddles along the Old Steine with a friend to reach the doorway, and after hauling ourselves up further steps, discovered that many had done the same. CHALK’s dusty black and purple walls were filling out with leather jackets and Docs by the time the support was off stage. Spirits were high. It was a multi-generational crowd too- I found myself surrounded by people of all ages, something that always makes me smile.
Alt-pop opener Emmma emerged around half seven in a haze of stage lights, clad in vintage corsetry and accompanied by her guitarist. Her set was a short one, filled with upbeat anthems and meditative lyricism. She delivered the introductions with brief summaries of the track, sometimes detailing an unbalanced relationship or similar tales of heartbreak. It’s all catchy and dance-worthy, despite this, sung with a soft yet sturdy stage presence. I suggest you keep an eye out for her name in the future.
When Pale Waves’s set began, however, the crowd fell under a spell. Frontwoman Heather Baron-Gracie strolled on, a vision in leopard print and thick eyeliner, to a low synth hum before jumping straight into ‘Perfume’. Kicking the show off with such an upbeat track proved a perfect choice and set those dedicated fans leaping along the barrier- a regular occurrence throughout. It seems this is a band with an energetic following, to say the least.
The setlist covered a wide range of hits and deep cuts across each album, allowing everyone to hear a favourite. Tracks like ‘You’re So Vain’ prompted a dedicated sing-along with fists pumping in the air, all interspersed with Baron-Gracie’s amusing chats with the crowd. She remarked on that torrential downpour, asking if her hair “looked like a frizzy poodle”, while earlier proclaiming the band’s love for the city of Brighton and its enthusiasm. This was all done with a sort of captivating goth swagger, regardless of the song. Plenty of attention was given to the group’s queer background and following, too, dedicating songs to them and twirling a lesbian flag chucked on stage. It’s heartwarming to see.
Special mention must also go to spirited drummer Ciara Doran, who filled the performance with an undercutting rhythm of high skill. This is even more apparent during an arresting cover of The Cranberries’ hit ‘Zombie’ midway through the set, a song with big shoes for anyone to fill. Guitarist and bassist Hugo Silvani and Charlie Wood play up to this well too, under a flood of crimson stage light. Both the deep bass lines and sharp rhythmic guitar cut through to a delightful extent, making it a cover to remember.
As the set petered out to a close, I couldn’t help but find myself wishing they’d stay on a little longer. Sure, my legs were aching from jumping to ‘Television Romance’ (possibly the band’s catchiest synth-pop tune), and I knew I’d punctured an unwanted hole somewhere in my tights, but there was something to be said about the unbridled joy of it all.
When the band would walk off and leave those silver candelabras alone on stage, we’d all have to go back to real life again. It made ‘Jealousy’, the closing song, even more fun.