Lzzy & Joe Unplugged @ Islington Assembly Hall

Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

Walking onstage to a rapturous reception, Lzzy wastes little time setting the tone. “Thank you all so much for being here. Are you ready to party?” she asks before explaining that, while they have been taking this format around the United States for some time, this is “the very first time in the UK doing this kind of tour.” The audience response leaves little doubt that the experiment is working.

Opening with a powerful acoustic take on Amen, the duo immediately demonstrate that Halestorm’s songs lose none of their impact when the distortion pedals are removed. The rallying cry of White Dress follows, introduced by a heartfelt message from Lzzy: “You be you, baby, whatever you want to be, you let that hang out. You let that freak flag fly.” It is a sentiment that resonates throughout the night, particularly during Bad Girl’s World, where she proudly declares, “This ain’t a man’s world no more.”

Lzzy & Joe Unplugged @ Islington Assembly Hall

Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

One of the evening’s greatest strengths is the ease between the two performers. Their chemistry is effortless, built on decades of friendship, musicianship and romance. Between songs, Hottinger serves as both guitarist and comic foil, while Hale’s quick wit keeps the room laughing. Stories tumble out naturally, from early bar gigs played for next to nothing to memories of writing songs and life on the road. He flings guitar picks at her playfully as she stares him down. The atmosphere feels less like a concert and more like being invited into their living room.

Lzzy & Joe Unplugged @ Islington Assembly Hall

Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

Do Not Disturb and Like A Woman Can showcase the sultry side of the Halestorm catalogue, while Familiar Taste Of Poison reminds everyone just how powerful Hale’s voice remains in the most stripped-back settings. A beautifully delivered version of Little Big Town’s Girl Crush slips seamlessly into the set, while their take on Jeff Buckley’s Lover, You Should’ve Come Over is handled with genuine reverence.

The emotional centrepiece of the first half arrives with The Silence. Introducing the song, Hale reflects on her relationship with Hottinger and the joy of sharing a life in music together. “The greatest thing in the world is to do something you love with somebody you love,” she says. As the song unfolds, it becomes clear why she describes it as their story. In a room packed with fans, the performance feels intensely personal.

After a brief interval, Hale takes to the piano alone, and the mood shifts dramatically. Dear Daughter is preceded by a moving tribute to her parents and their unwavering support. Recalling how they encouraged her and brother Arejay to pursue music from an early age, she shares one lesson that has stayed with her: “Life is too short.” The song lands with particular force, transforming the ornate Assembly Hall into a room full of shared memories and gratitude.

Lzzy & Joe Unplugged @ Islington Assembly Hall

Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

How Will You Remember Me? follows as another standout moment. Hale introduces it as her “funeral song”, quickly reassuring everyone, “Don’t worry, I’m perfectly healthy.” The track becomes a reflection on legacy, kindness and human connection. “If you’re a good human, and you’re kind to your fellow humans, and you lift each other up, you’ll be remembered forever,” she tells the crowd. It is one of the evening’s most affecting moments.

Break In is simply breathtaking. Illuminated by hundreds of phone lights, Hale delivers the song with extraordinary vulnerability before Hottinger rejoins for the second half of the set. The energy quickly ramps back up through Shiver, Rock Show, Mz. Hyde, Love Bites (So Do I) and a thunderous acoustic I Am The Fire. If anyone thought an unplugged arrangement would tame these songs, London proves otherwise.

Freak Like Me becomes a communal celebration, while Hale’s stories about Halestorm’s recent appearance at Black Sabbath and Ozzy Osbourne’s farewell event provide another memorable highlight. Recalling watching Ozzy perform Mama, I’m Coming Home, she describes looking across at Hottinger and seeing him in tears. “Very sweaty eyes,” he jokes, drawing another roar of laughter.

The evening’s final stretch becomes something of a family affair. Chris Turpin joins the pair on slide guitar for a haunting rendition of Fleetwood Mac’s Gold Dust Woman, while Heaven’s Basement and Cruel Knives frontman Sid Glover adds another acoustic guitar to the troupe, helping turn I Miss The Misery into a joyous singalong, as well as affording the opportunity for each guitarist to shred a little while the others keep the rhythm.

Chris Turpin with Lzzy & Joe Unplugged @ Islington Assembly Hall

Chris Turpin with Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

By the time the traditional closer Here’s To Us arrives, the sense of connection between performers and audience is undeniable. Earlier in the evening, Hale had asked how many people were seeing Halestorm for the first time and seemed genuinely delighted by the response. Tonight feels like an introduction, a celebration and a thank-you all at once.

Sid Glover with Lzzy & Joe Unplugged @ Islington Assembly Hall

Sid Glover with Lzzy & Joe Unplugged @ Islington Assembly Hall (Kalpesh Patel)

What makes Lzzy + Joe Unplugged so compelling is not simply hearing Halestorm songs in a different format. It is the opportunity to witness the stories behind them, delivered by two musicians who clearly still love what they do, as well as each other. As Hale reflects on her journey, her family and the fans who have supported them, one thing becomes abundantly clear: whether plugged in (and turned up to eleven) or unplugged, Halestorm’s greatest strength has always been the humanity at the heart of the music. And in a packed Islington Assembly Hall, that heart beats louder than ever.

Live review and photography of Lzzy + Joe Unplugged @ Islington Assembly Hall, London by Kalpesh Patel on 17th June 2026.

Dogstar Deliver Substance Over Celebrity At Camden’s Roundhouse

Mercury Prize winners Wolf Alice have evolved into one of Britain’s defining bands, capable of headlining major festivals while continually reinventing their sound. Last year’s The Clearing only strengthened that reputation, offering a fresh take on classic rock influences while remaining unmistakably their own. With a catalogue now spanning dream-pop, indie rock, grunge and alternative experimentation, the North London quartet arrived in Cornwall looking every inch the seasoned headliners.

Wolf Alice @ Eden Sessions

Wolf Alice @ Eden Sessions (Adam Smith)

For those who haven’t experienced the Eden Sessions before, the event takes place at the Eden Project, nestled within the natural amphitheatre of a former china clay quarry in the heart of Cornwall. Surrounded by dramatic cliffs and the venue’s iconic Biomes, it remains one of the UK’s most unique concert settings. As the Cornish drizzle descended over the site throughout the evening, the atmosphere only seemed to heighten.

The packed crowd erupted at the sight of bassist Theo Ellis emerging from the darkness, followed by Joel Amey on drums and Joff Oddie on lead guitar. Finally, a beam of light revealed singer Ellie Rowsell centre stage, drawing a deafening roar from the audience.

Wolf Alice @ Eden Sessions

Wolf Alice @ Eden Sessions (Adam Smith)

Few bands possess the confidence to open with a song as commanding as Bloom Baby Bloom. Its larger-than-life swagger announced their arrival in style, with Ellie’s remarkable vocal range setting the precedent for the remainder of the set. Within a single song, she shifted effortlessly from softly spoken vulnerability to full-throated power, all while retaining the rich warmth that has become one of her defining strengths as a vocalist.

Ellie naturally commands attention as a magnetic frontwoman. Whether prowling the stage, unleashing her well-known scream, or delivering quieter moments with understated poise, she remains one of the most captivating performers of her generation. Yet a Wolf Alice concert is far from a one-person show.

The momentum continued with White Horses, a more melodic and uplifting affair that saw drummer Joel step forward on lead vocals, underlining the depth of talent within the band. Bassist Theo brought boundless energy throughout, constantly engaging with the crowd and clearly relishing every second on stage despite the increasingly wet conditions. Meanwhile, guitarist Joff demonstrated once again why he has become one of the most compelling guitarists of his generation, weaving together melodic riffs, shimmering textures and walls of noise with apparent ease.

Part of Wolf Alice’s enduring appeal lies in their refusal to be confined by genre. They are a band perfectly suited to modern listening habits, where playlists matter more than labels and audiences are happy to embrace a variety of influences. The tender and uplifting Just Two Girls sat comfortably alongside the sprawling eight-minute epic Visions Of A Life, whose thunderous climax could easily have felt at home on the main stage of any major rock festival. The band’s ability to shift between emotional intimacy and explosive intensity remains one of their greatest strengths.

Wolf Alice @ Eden Sessions

Wolf Alice @ Eden Sessions (Adam Smith)

The evening’s atmosphere reached another level during The Sofa, a song that perfectly encapsulates the group’s gift for combining emotional songwriting with musical grandeur. As mist drifted across the quarry and the rain continued to fall, the song reverberated around the venue like a hymn echoing through a vast cathedral. It was one of several moments where the unique setting elevated the performance into something genuinely special.

The heavier side of Wolf Alice emerged during the explosive Yuk Foo from their Mercury Prize-winning 2017 album Visions Of A Life. The track’s snarling energy sparked one of the loudest crowd reactions of the night, with Rowsell delivering every line with unrelenting intensity while the band unleashed a barrage of distortion and thunderous rhythms.

As quickly as they raised the temperature, they shifted gears once again. The Last Man On Earth transformed the Biomes into a sea of phone lights, with thousands of voices joining together for one of the night’s most emotional singalongs. The song’s sweeping arrangement and heartfelt delivery highlighted the band’s ability to connect on a deeply personal level even within such a vast setting.

The North London quartet closed the main set with their best-selling hit Don’t Delete The Kisses, bringing the night to a fittingly euphoric conclusion. As the crowd sang every word back towards the stage, it served as a reminder of just how deeply these songs have embedded themselves into the lives of their fans over the past decade.

Throughout the evening, Wolf Alice demonstrated exactly why they continue to sit at the forefront of British alternative music. Their willingness to embrace vulnerability alongside power, beauty alongside chaos, and experimentation alongside accessibility has allowed them to carve out a space entirely their own.

The rain may have fallen, but Wolf Alice lit the fuse on this year’s Eden Sessions in spectacular style, transforming one of the country’s most unique venues into their own cathedral of sound and setting an exceptionally high bar for everything that follows.

Live review and photography of Wolf Alice @ Eden Session, Cornwall, London by Adam Smith / _abs_photo on 16th June 2026.

Dogstar Deliver Substance Over Celebrity At Camden’s Roundhouse

After our first set from Marshall’s newest signing, Ashaine White that’s equal parts soulful and gritty, we’re swept into Daytime TV. They bring the past and future together, their eighties smooth confidence blending with modern introspection. When they stomp, their sound is monstrously appealing, all harmony and blocky chunks of bass and rhythm and their latest single, Sun, radiates hopeful holiday energy with a strut and a bounce in its live debut. Meditate, their unreleased track, pierces with synth anchors and betrays dreamy pop ambitions. With songs like Anger Mgmt and their new place at Marshall Records, there’s no chance we’ll be seeing them in a venue this small again.

Daytime TV, Marshall Records 10th Birthday @ Blondies Brewery, London 2026.06.10 © Pauline Di Silvestro - All rights reserved - www.paulinedis.com

Daytime TV, Marshall Records 10th Birthday @ Blondies Brewery, London 2026.06.10 © Pauline Di Silvestro - All rights reserved - www.paulinedis.com

Big Truck, Laurie Vincent of SOFT PLAY’s new project, present a brash and honest slice of life with almost funk honesty, packed with everyday Zen and the joy of the mundane. Vincent’s eloquent everyman energy rises above the smooth waves propelled by his bass. Big Truck represent a movement beyond SOFT PLAY but with that same irreverent heart, refined but not necessarily mellowed. They specialise in poetic truths with moments of big crash, especially with the frontman intoning lyrics as he wanders into the crowd, his preaching echoing in an opening circle. They’re an irresistibly clappable band and even after this short set we’re already getting very excited for their debut record.

Big Truck, Marshall Records 10th Birthday @ Blondies Brewery, London 2026.06.10 © Pauline Di Silvestro - All rights reserved - www.paulinedis.com

Big Truck, Marshall Records 10th Birthday @ Blondies Brewery, London 2026.06.10 © Pauline Di Silvestro - All rights reserved - www.paulinedis.com

Yes, their set ended early due to a power cut, but that’s probably more due to the sheer force of Cancer Bats’ set. They’re spring-loaded brutality of the highest order, and tonight is a window back to the time when they played dive bars rather than vast festival fields, their desert metal compressed into a frenzied back room. From the second vocalist Liam Cornier high-kicks, the pit explodes. Opener Golden Tanks is the sound of inventive frothy punk taken to it’s absolute,  beautifully aggressive limit, and French Immersion sends our fists in the sky with its endless energy. “We love any excuse to have a rowdy Wednesday night,” laughs Cormier as sweat rises from the circle pit, any pauses in their sonic onslaught only a distorted illusion, the roaring old school drops on Shillelagh only there to toy with us. Snarling poses and triumphant howls drag us into new single Long Tooth, a gravelly avalanche of a track with just as much heavy elastic dynamism as the rest of their back catalogue. It’s blunt and abrupt, abrasive and hypnotic, with menacing edges and gorgeous distorted fade out. Cancer Bats know exactly how to bring a volcanic scorch to a set, and that’s a whole lot more rock’n’roll than the candles you’d expect at an average birthday party.

Review of Marshall Records‘ Tenth Birthday Show at Blondies Brewery on 10th June 2026. Words by Kate Allvey, photography by Pauline Di Silvestro.

Dogstar Deliver Substance Over Celebrity At Camden’s Roundhouse

Mac DeMarco is an indie music legend. His sound instantly recognisable; a groovy bassline, tight drums and a vibrato or jangly guitar melody, sometimes in an intriguing tuning. From fast-paced colourful hooks to introspective acoustic sketches. Following the release of 2012’s extended play Rock And Roll Night Club, he’s released seven studio albums. Every record self-produced, little radio play. Since 2019, he’s released his music on his own record label quite straightforwardly named Mac’s Record Label. Yet his organic success in the early 2010’s has bought him such a loyal fanbase that he can sell out three consecutive nights at O2 Academy Brixton.

MacDeMarco @ O2 Academy Brixton

MacDeMarco @ O2 Academy Brixton (ShotByBrodie)

Beginning with Shining, the opener from his latest album Guitar, that he recorded entirely by himself at his home in Los Angeles. A beautiful love song about the love of his life being better off without him whilst Sweeter another delicate ballad about promising to change to an ex that he can change, that next time things will be much better. Sandwiched between these new songs is the first big singalong of the night, 2017’s synth laden For The First Time. There is a dichotomy of Mac DeMarco; the quirky, silly, easy-going extrovert. The most non-serious artist who can write the most achingly brilliant songs about love and loss. Whilst then may go out of the public eye for months at a time, going on long road trips and camping, keeping himself to himself yet being the life of the party when he needs to be. Or at least playing up to that persona.

There are some technical issues plaguing his acoustic guitar so for the first half of the show, he is the singing frontman, but for Salad Days, he picks up his electric and takes us on a trip back to 2012. Ode To Viceroy, another charming, highly melodic song from over a decade ago fits in perfectly to this set that has a light and dark feel; rather than grouping segments, songs are interspersed. You are pulled back from the brighter rhythmic electric bangers and lifted up after a slower acoustic number. This itself gives the set a multi-dimensional feel, like the tactile nature of Mac DeMarco’s songs you can almost hear textures through the tightness of the drums, the groove of the bass, the vibrato of the guitar.

On The Level; sampled by Anderson .Paak in 2019, sees him wave the mic like a magic wand as he continues to squat, lunge and let the music involuntarily move his body. Mac sporting a green shirt and blue cap stands out from the no-frills staging; No screens, no backdrop. His bandmates spreadout behind him. Phillippe Melanson on drums, counting in every song and seems in control, organising the group who follow his lead. Guitarist Pedro Martins delivers a tremendous solo to end Rock and Roll from last year’s record. Even when the Edmonton singer introduces Pedro before the crunching solo, it’s hard to not keep your eyes of DeMarco who’s sillyness intensifies as he drops to the floor dry humping the ground.

Otto Benson from Brooklyn, New York began the night, someone who has clearly been influenced by DeMarco’s sound. Playing several songs from his fourth album Peanut from 2025 including Red And Neon, Raisin and Drive Away. Benson in the middle sat, slowly strumming his guitar. Bassist to right and slide guitarist to the left. Beautifully crafted songs, leaving the ever growing Brixton crowd as quiet as I’ve seen to hear those delicate melodies. Mac thanks Benson for his opening slot. He says that he loves him, loves his music, loves his team and that his parents are here tonight which gains a great ovation.

20200817 Proud True Toyota and 20191009 I Like Her the 199-track surprise album One Wayne G. No, that’s not a typo. DeMarco released this nine hour anthology of unfinished ideas, mostly instrumentals recorded between 2018-2023. Each song’s name begins by the date of it’s recording. A clearout? Pallet cleanser perhaps?! Whilst his signature style has matured into a softer, more minimalist vibe, his trademark wit and loose-ness can be heard on these unfinished demo’s. It just shows his relentless creativity, that every small idea, every melody that comes into his head has to be explored. It’s certainly the mark of a man who’s restless. A trait of releasing demo’s is nothing new, as following his first five studio albums, he would release the following year an album of demo’s, allowing the listener to hear early drafts and see how the completed track evolved.

If After hitting the high notes effortlessly on Finally Alone, Still Beating from fourth album This Old Dog draws one of the biggest singalongs and an impressive keyboard solo by Alec Meen. During the instrumental outro which had the near 5,000 of us singing every word he performs some pretty impressive jumping kung fu style kicks. It’s quite apparent that he can’t sit still. Between songs he makes little quips, sometimes nonsensical. He chirps and whoops into the mic, throughout the songs he swings the microphone cord in big sweeping circles and throws shapes that wouldn’t look out of place in an intepretive dance recital.

Freaking Out The Neighbourhood is a highlight, not just because of it’s infectiously groovy melody but with an extended outro, which DeMarco and band toys with the crowd, pausing before continuing faster and faster as a mosh pit opens up in the stalls. The boisterous nature of audience feeding off the Canadian’s goofiness. What’s the point of taking yourself seriously when you can feel so much joy by letting go of the ego and singing and dancing with strangers.

Moonlight On The River, which is for the most part, a beautifully quiet song, descends into a cacophony of distortion, of feedback, Melanson on drums driving the song to it’s conclusion. After a brief departure from the stage, Mac and the band return to perhaps his most well known song,  the synth heavy Chamber Of Reflection which tonight feels transcendental. Finishing with My Kind Of Woman, a see of phone’s light up the Brixton Academy in a wonderful finale.

As unserious as Mac DeMarco can appear, he has touched a generation with his impactful songwriting and lax easy-going playing and performance style. In a career-spanning two hour, 29 song set, tonight was a celebration of the alternative. Veering into lo-fi minimalism in recent years, live is where Mac DeMarco demands your attention. Don’t look away, as you’ll definitely miss something entertaining.

Live review of Mac DeMarco @ O2 Academy Brixton, London by Chris Lambert on 12th June 2026. Photography by ShotByBrodie.

Dogstar Deliver Substance Over Celebrity At Camden’s Roundhouse

Bret Domrose & Keanu Reeves of Dogstar @ Roundhouse

Bret Domrose & Keanu Reeves of Dogstar @ Roundhouse (Kalpesh Patel)

Long before the lights dim inside London’s Roundhouse, the signs are obvious. One fan stands centre barrier dressed as Neo from The Matrix. Another waits for a gap in the crowd noise to shout “Go on John Wick!” as Keanu Reeves emerges from the darkness to collect his bass from the back of the stage. Plenty have come to see the Hollywood A-lister in the flesh. Sure, they may well be in town as the Download Festival roadshow offers the opportunity — they play the festival the following day, but what Dogstar spend the next 72 minutes proving is that they’re here to focus on the music.

Dogstar @ Roundhouse

Fans watching Dogstar @ Roundhouse (Kalpesh Patel)

Without introduction, the trio dive straight into Siren, taken from newly released fourth album All In Now. Robert Mailhouse’s driving beat and Reeves’ uncomplicated basslines provide the platform for Bret Domrose’s warm vocals and wah-infused guitar work. It immediately sets the tone for the evening: direct, unfussy and refreshingly free of rock star theatrics.

The songs come thick and fast. Lust and How The Story Ends arrive in quick succession, jangling guitars ringing around the circular former railway engine shed. There are barely any pauses between tracks. Dogstar appear determined to fit as much music as possible into the evening, rattling through songs with military efficiency.

When Domrose finally stops to address the audience, it’s with genuine appreciation rather than grandstanding. “Good evening, Roundhouse. All the way around. Thank you very much for coming. This is a special night for any band to get to play here, so thanks for joining us,” he says before leading the band into the slow-burning Everything Turns Around.

The release-week glow surrounding All In Now naturally means the new material dominates proceedings. Before launching into the haunting Joy, Domrose checks the room’s homework. “Anybody heard the new record yet?” he asks, drawing enthusiastic cheers. “The rest of you get out and listen to it.”

Bret Domrose of Dogstar @ Roundhouse

Bret Domrose of Dogstar @ Roundhouse (Kalpesh Patel)

The newer songs often prove to be the evening’s strongest moments. Album closer Wing sees Reeves’ bass resonating through the Roundhouse, sitting prominently above Domrose’s gentle guitar work and Mailhouse’s restrained drumming before the track swells dramatically during its chorus. The excellent This Sphere shifts gears completely, Mailhouse’s fast-paced drumming injecting fresh energy into a crowd that has largely been content to nod along rather than lose itself in the music. As Domrose sings, “Happiness is bulletproof all around this sphere,” the lyric feels particularly fitting inside one of London’s most distinctive circular venues.

Not everything hits with the same impact. The sunshine-soaked Blonde glistens with sugary melodies and bright guitar textures but never quite leaves a lasting impression. Glimmer follows by taking the pace down again, its haunting atmosphere allowing the venue a moment to catch its breath. Elsewhere, Math benefits from one of Reeves’ most memorable bass performances of the night, the driving low-end groove underpinning the song before Domrose’s fuzzy wah pedal takes centre stage. Introducing The Whisper, the frontman reveals the song’s origins.

“Anybody ever been to San Francisco?” he asks. The audience cheers in response. “As much fun as I’ve had on pub crawls in your lovely city, I had a really good pub crawl in San Francisco. Sorta inspired these lyrics I think.” Mailhouse immediately counts the band in and the story is over almost as quickly as it begins.

That brevity extends to much of the evening’s stage banter. Yet one aspect of the production deserves particular praise. Positioned prominently to the left of Domrose throughout the performance is a sign language interpreter, translating both lyrics and between-song conversation for Deaf and hard-of-hearing fans. Having struggled earlier in the evening myself to communicate with a Deaf fan pressed against the barrier who was trying to ask me something, the significance of the interpreter’s presence feels particularly apparent. It’s a thoughtful inclusion that reflects Dogstar’s commitment to making their shows accessible to everyone.

Dogstar @ Roundhouse

Sign Language Interpreter with Dogstar @ Roundhouse (Kalpesh Patel)

As the set moves into its final stretch, Mailhouse takes a moment to introduce his bandmates. Describing Domrose as “money in the bank” before introducing Reeves as being “from … everywhere … our own Keanu Reeves baby!”, he receives the loudest audience reaction of the night. Of course.

Keanu Reeves of Dogstar @ Roundhouse

Keanu Reeves of Dogstar @ Roundhouse (Kalpesh Patel)

The frontman returns the favour moments later. “And what would a band be without a drummer?” he jokes. “I guess it’d be Simon & Garfunkel.” The laugh quickly gives way to something more heartfelt. “We’re all very blessed to have met up with each other and become the brothers that none of us ever had.” The sentiment draws a collective chorus of approving “ahhhs” from the audience and offers a glimpse into the chemistry that allowed the trio to reunite in 2020, almost two decades after their original run ended.

The final stretch barely pauses for breath. Exalted, Runway and What Is flow seamlessly into one another before unreleased track Marmalade is dedicated to Sawyer, a fan the band had met earlier in the day. The main set concludes with the title track All In Now, before Dogstar make only the briefest exit from the stage.

Bret Domrose of Dogstar @ Roundhouse

Bret Domrose of Dogstar @ Roundhouse (Kalpesh Patel)

The encore is similarly economical. Punch The Sky opens with crunchy guitars before briefly making room for Reeves’ bass to shine. At the song’s conclusion, Domrose continues teasing notes from his guitar before laughing: “That guitar sounded so good I needed to hear a little more.” The crowd responds warmly before Shallow Easy and a rousing Breach bring proceedings to a close. As the final notes ring out, Domrose offers one last thank you. “Thank you for making it a great record release week for us. Thank you Roundhouse for letting us all party together.” And with that, Dogstar disappear into the darkness.

The entire show is over in little more than an hour. Twenty songs flash by in what feels like the blink of an eye. There is limited showmanship, sparse lighting and very little audience interaction beyond the occasional anecdote or expression of gratitude. Yet that restraint ultimately becomes one of the evening’s strengths. Many arrive hoping to see Keanu Reeves. What they leave having witnessed is something much more rewarding: a genuine band of three lifelong friends, quietly and confidently delivering sharp alternative rock on one of London’s most iconic stages.

Live review and photography of Dogstar @ Roundhouse, Camden by Kalpesh Patel on 13th June 2026.

Dogstar Bring Their Power Lines And Palm Trees To Kentish Town