The Japanese House showcases incredible indie-pop at the O2 Institute Birmingham

O2 Institute, Birmingham, 8th May 2024

It is a warm evening in Birmingham and the gentle heat and light breeze are ringing the familiar feeling that we are on the cusp of summer once more – a mood almost tailored for the summery ambience of The Japanese House’s most recent record. In the End it Always Does – Amber Bain’s second studio album as The Japanese House and most recent foray into the indie-pop world, is fast approaching its first anniversary with these final four UK shows marking what will be the last headline dates of the album’s tour here. Having had a year to find deeper ways into fans’ lives before arriving back home, it feels as though many pieces have fallen into place this evening.

I had the pleasure of seeing The Japanese House open for The 1975 at the Manchester AO Arena earlier this year and was incredibly impressed with the impact she had with an eight-song set. Ever since I have been eagerly awaiting to see what she could do with a full-length show.

Being a seasoned performer of both headline and support shows, Bain’s humility is endearing

Unlike at the AO arena however, I am now mere meters away from the stage surrounded by some of Bain’s most dedicated fans at the far more intimate O2 Institute, all of us patiently waiting for her to grace the stage. Finally, a chaotic patchwork of sound from the album’s eclectic opening track ‘Spot Dog’ loudly starts up as accompanying blue lights oscillate across the stage and heavy booms of bass vibrate through the floor. A testament to her unpretentious stage presence and her kinship with her band, their entrances are practically indistinguishable. She strides onto the stage just after them, waving with one hand and a paper cup in the other hand, diving straight into the set with one of her catchiest songs ‘Touching Yourself’’, a personal favourite of mine. Belting its earworm refrain: “Know I shouldn’t need it/ but I want affection/ Know I shouldn’t want it/ but I need attention”, it is apparent that Bain’s uniquely sincere and agile vocal style sounds identical in person as it does to the track.

Being a seasoned performer of both headline and support shows, Bain’s humility is endearing. Throughout the show, she repeatedly notes that she ‘can’t believe how many people are here’. It is evident that the love is mutual, as dedicated fans pass her art and hold up pride banners as the set progresses – gestures which she acknowledges with genuine appreciation. We swiftly transition into the bouncy ‘Sad to Breathe’ with such tracks only amplifying the crowd’s already exuberant energy and providing the perfect platform for the band’s cohesion to really shine. Much like ITEIAD itself which muses on everyday life’s ups and downs, the setlist fluctuates between high-energy tunes and Bain’s more mellow, reflective songs like ‘Morning Pages’ and ‘Baby goes again’ which pace the set nicely. Some of the instrumental changes made are incredible, most notably the electronic buzzes in the bridge of ‘Follow My Girl’ have been swapped for a groovy saxophone solo, that retains the essence of the original melody and is a reminder of the unique arrangements that only come with seeing a show live.

Bain’s softer songs like ‘Over There’ are instead heightened by the evocative and stirring harmonies of her fellow musicians

The bright and energetic percussion of co-producer and drummer George Daniel remains strong in its translation to the stage and acts as the driving force behind most of the songs in the show, skillfully executed by drummer Myles Sargent. The cascading fills prominent in songs like ‘Worms’ and the playful and sexy ‘Friends’ add texture and punch, complimenting the bright electric guitars and funky bass lines present in both.

On the contrary, Bain’s softer songs like ‘Over There’ are instead heightened by the evocative and stirring harmonies of her fellow musicians. In the chorus’ – “Where do you wanna go? / Did you wanna get some air? / Do you like it over there?” – they movingly capture the sense of longing and melancholia that comes with lost love. It is surprising to hear how well the dreamy sonic landscapes of Bain’s older songs have been recreated. Earlier releases like ‘Chewing Cotton Wool’ are accented with cymbal rolls and ambient synths to successfully create the unmistakable indie-pop sound that has come to characterise Bain’s work.

In the final moments that are the shows encore, we are treated to a brand-new unreleased song called ‘Smiley Face’, a sparkling and jaunty song reminiscent of The 1975’s ‘Wintering’, before finally rounding off what has been a stellar show with her summer anthem ‘Sunshine Baby’.

It will be exciting to see which direction Bain decides to take next. Whether it be further into the pop realm, a retreat into her more diaristic songs, or something new entirely, I am confident that her talents in musical experimentation and collaboration will result in something no less great than what ITEIAD has proven itself to be.

★★★★★