There's always been some sort of mythical quality surrounding Calva Louise. Fate almost seems to be at hand - drawing together three like-minded musicians from far-flung corners of the world to London, their cards just seemed to line up all too well. However, the seeds of Calva Louise were sewn well before the metal trio crossed paths, born in the early adolescence of frontwoman Jess Allanic, the world-building element of the band was conjured up in her bedroom long before she knew where it would go.
Fast-forward to 2026, and we are here at Yes Pink Room, a bank holiday just starting to rustle on the streets, outfits still carefully curated and drinks half-full. The usual student-hipster customer of Yes has been hastily replaced for the night; instead, the multi-venue bar resembles more of Grand Central with the seeming invasion of Calva Louise fans, Carhartt workwear traded for battle jackets.
The night kicks off at the chime of eight o'clock with Knife Bride, an emerging Brighton four-piece fusing classic nu-metal influences (think the theatre of Korn with the riffs of Disturbed) with a regal flair reminiscent of Spiritbox. Bringing their unique brand of "nu-gothica", they've been steadily building a reputation for themselves after supporting fellow nu-metal heads Wargasm. And word has got out, as Yes Pink Room is packed to the rafters, people eager to see the band on everyone's lips.
Blistering through a nine-song set, the band start off slightly tentative, confident but reigned in as they stride through the opening songs. But somewhere halfway through, the foot goes fully down, and that's when the magic happens. Frontwoman Mollie Clack is magnetic, channelling the poise of a ballerina with a razor-sharp edge, eyes scanning the crowd who sing the lyrics straight back. 'Lillies' is the standout track, shimmering and ambient with a fun trip-hop drumbeat, decaying into a thunderous breakdown, inciting a moshpit in the process.
Then it is time for Calva Louise to step out, to rapturous applause. TV screens crackle in the background, flickering through stills from the band's music videos, all made by Allanic after teaching herself Blender in lockdown. Behind them, the newest album logo, 'Edge of the Abyss' glows above the drumkit, casting the room in a warm crimson.
Everything about this band is D.I.Y., from the music videos to the logos to even their stage equipment, including the keyboard stand that had a viral moment on TikTok, which Allanic slides out of the way between shredding on the guitar. That's what makes the band so impressive - they are tight, polished, the long-standing relationship between best friends shining through as they hurtle through the setlist, not missing a beat between them.
Calva Louise's sonic universe is impressive and ever-expanding, 'Edge of the Abyss' branching into an infectious world of disco-metal, a bizarre and completely brilliant amalgamation that has half the room headbanging and the other half hip-swinging. The synths are warm and expanding, swelling around the small pockets of space in the room, interjected with intermittent roars from Allanic, whilst bassist Alizon Taho and drummer Ben Parker whip up a storm around her. A shining moment comes near the end of the set in 'Aimless', touching on Latin inspiration and bossanova riffs before raining down a wall of noise that practically blows your hair back.
During the set, Allanic takes a moment to express their gratitude for the fans and the joy they find in touring. Joy is the theme that runs throughout the set, as a pair of friends bear hug in the moshpit, another set spinning each other round as they scream lyrics back to each other. Watching Calva Louise, it's clear that they love what they do, and safe to say the pleasure is all ours.
Kaitlyn Brockley
Images: Kaitlyn Brockley