Community spirit is the core of any gig but for Paris Paloma, the extras feel sincere. Those bookshop trades, the sudden whoops and sense of appreciation at the end from fans and artists, are a marvellous undertaking from Paloma, whose crawl to the top of the genre is well underway on the Brudenell Club’s stage. From The Lord of the Rings-featured songs to a sound which blurs the electropop boom with folk fundamentals, the perfect spot to hear them from is resting at the back on a metal bar. That cool, cool fitting is a lifesaver in the heat of The Brude and it is nice to lean while listening to those Paloma-led tones. Comfortable sounds played out by the three-piece, Paloma joined by George and Jim for a well-rounded set highlighting the joys and skills of debut album, Cacophony.
Revel not just in the intimate sound, the very nature of those songs from Paloma’s debut album is to find yourself in them, but the amiable atmosphere. Probably one of the friendliest crowds of all and it is reflected in the words of these fine folk songs, in the presence of the trio on stage and in every aspect of a sleek set highlighting what the future holds for electropop. It is certainly Paloma’s time to shine and she does so with an array of those exceptional debut album releases. Opener My Mind (Now) and follow-up Drywall are a great double-bill for the first songs of the set, setting the tone and gauging the mood as the band warms to the crowd. A giddy gig the whole way through where details of sister songs and writings made for or informed by ancient history are explained. Paloma adds layer after layer to her debut album which comes through only in these live performances.
But those extra details, the backstory to Triassic Love Song or Knitting Song are essential. These are not temporary additions to songs which recently released but permanent revisions which you can carry back to the album after the show. That is the sign of an exceptional set, and that is exactly what Paloma gives the sold-out Brudenell Club crowd. Frankly magnificent performances of Yeti, Hunter and encore selection Labour are based not just on the instrumental prowess of Paloma and the instrumentally sharp duo backing these songs but the audience and their interactions. Tell a crowd they can sing. In an intimate venue such as this, the instruction comes not as an ask but as a respectful, guiding hand. Phone light flashings, a few whoops from the crowd, one in particular for George, and the night keeps on rolling.
Gig etiquette of late has taken a tumble but with Paloma, the sense of community and independence garnered from her songs is all part of the experience. These are powerful, fundamentally folk workings where the thrill comes from those new layers. Effective portrayals of songs search not just for betterment but in understanding how to overcome dissatisfaction. To do so is to revel in community spirit and lighter flourishes which make all the difference for this gig. Paloma has a tremendous set of songs, the foundations of a great sound which are ripe for developing on stage and in the studio. The Brudenell Club crowd is given a taste of that and it comes together with the unity of a great crowd.
