Pale Waves’ unlimited range is showcased at Birmingham’s O2 Institute

O2 Institute, Birmingham, 15 October 2024

Following the release of their fourth studio album, Smitten, Pale Waves have been touring across the UK to promote and celebrate their ‘romantic, delicate, and feminine’ record. Considering the range of sounds present in their discography — spanning from pop-punk in their previous album Unwanted, to indie rock and synth-pop — it was a privilege to witness and experience the scope of Pale Waves.

Following an impactful and energising performance from the support band Swim School, the stage dims with moody red lighting reminiscent of the cover for their debut album: My Mind Makes Noises. The stage is decorated with vintage lamps, Greco-Roman style statues, and ivy leaves, and a playlist featuring The Last Dinner Party, The 1975, and John Waite fills the time. The set is prepared for Pale Waves, with a red curtain backdrop, as a piece of art. The lighting fades, and flashes of white light grow with intensity before the stage is graced with Ciara Doran, Hugo Silvani, and Charlie Wood, followed by lead singer and guitarist Heather Baron-Gracie.

The retro-pop sound with Baron-Gracie’s tender vocals resonates throughout the Institute as a strong opening for the phenomenal set

Under warm yellow and orange lighting, the band opens with the first single featured on Smitten, ‘Perfume’, forming an immediate connection with the audience. The retro-pop sound with Baron-Gracie’s tender vocals resonates throughout the Institute as a strong opening for the phenomenal set. The lighting shifts to shades of lilac for ‘Not A Love Song’, the second track on the album, coincidentally also the second track in the set.

“Birmingham, how you feeling?’. The band brought energy and intensity with the following two tracks: ‘There’s a Honey’ and ‘Change’, which is evidently one of the fan favourites for this venue. The band, rocking individual aesthetics that seamlessly tie together, perform these tracks with vigour and strength that electrify the audience – with theatrical haze encompassing the stage during ‘Change’, which amplifies the atmosphere. Pale Waves, following these fan favourites, were able to maintain momentum throughout their set, which continued with a third track from Smitten, ‘Gravity’.

Baron-Gracie, between ‘Gravity’ and ‘Drive’, shares a nostalgic story of one of Pale Waves’ previous performances in Birmingham from 2018 in a casual, colloquial manner, furthering the connection existing with the audience. At this time, she removes her guitar as red and white lighting dominates the stage. Baron-Gracie throughout ‘Drive’, a heavier track, without the restraints of her guitar, can engage in greater amounts of movement across the breadth of the stage, invigorating the audience and presenting a dominant performance.

Not only is their crowd engagement fantastic, but through the next track ‘Eighteen’, from their debut album, the band confidently display their instrumental prowess and hard-hitting vocals

‘You’re So Vain’ opens with piercing guitars, and the high energy from the audience is not put to waste by Pale Waves. During the third chorus, the microphone is pointed towards the audience – highlighting the immense fan engagement that Pale Waves warrant when performing. However, not only is their crowd engagement fantastic, but through the next track ‘Eighteen’, from their debut album, the band confidently display their instrumental prowess and hard-hitting vocals.

For their next track, equipped with an acoustic guitar, the band are able to exhibit a softer side with Smitten’s ‘Last Train Home’.

“Birmingham! Do you wanna play a game?” If there wasn’t already incredible audience and artist interaction, Pale Waves offer the choice of two songs – ‘Unwanted’ or ‘Red’. “Is it ‘Unwanted’?” – intense screaming – “Is it ‘Red’?’” – even more intense screaming. “I think you’ve made up my mind”. Consequently, Pale Waves perform ‘Red’, paired with red lighting. Unsurprisingly, after being chosen by the audience, this song is incredibly well-received throughout the Institute, even including a precious moment between Pale Waves and a fan in which Baron-Gracie points the mic to an individual fan to sing “I just wanna know” before the final chorus.

The band continue to demonstrate their charisma when introducing ‘Thinking About You’ as a “sad song, but I’m over it now”. The energy of reciprocity from stage to stands is far from over. During ‘Kiss Me Again’, introduced as a song “for all the straight girls that wanna be gay for the night”, encouraged by bassist Wood, the audience clap in tune with Pale Waves. Undeniable fan favourite, ‘Television Romance’, follows, which revitalises the audience with movement and interaction – to the point the audience is providing backing vocals for Pale Waves, encouraging the band to exclaim, “I’m so glad you’re not boring”.

The edgier and punkier sound of their prior album closes their set with intensified vocals, guitars, drums, and movement on stage, as well as passionate engagement from the audience

“Do we have any gays in the House… The next song is for the lesbians”. ‘She’s My Religion’, from the 2021 album Who Am I?, portrays a new side of Pale Waves with a more electronic funk sound than previously performed, demonstrating the heightened level of variety and range which Pale Waves possess. During this track, lead singer Baron-Gracie brings out a rainbow flag, and adorns it for the remainder of the song.

Following a beautiful closing number by Pale Waves, the lights dim to black, and the audience, desperate to keep this connection, as if they were a stampede, stomp and chant for the return of the band. It is not a long wait, Pale Waves return, after a voice recording to introduce their first encore song ‘Glasgow’. “This is my favourite song” Baron-Gracie intimately shares. “Birmingham are you ready!”, the opening track to Smitten, ‘Glasgow’, is performed, reviving the audience with the demand of “You ready to just sing it!” and reestablishing the reciprocity of the set.

“Birmingham, you’ve been so f*cking fun, thanks for having us!… THIS IS ‘JEALOUSY’”. The audience is absolutely and completely engaged with this track. The edgier and punkier sound of their prior album closes their set with intensified vocals, guitars, drums, and movement on stage, as well as passionate engagement from the audience. Pale Waves were so effective in maintaining the energy of the audience throughout their set and bid farewell with a “f*cking love you, thank you” as they blow kisses goodbye.

★★★★