The view from Far Out: Eagulls – Islington Assembly Hall, London

We’ve reached a point in the Eagulls timeline that no longer are we forced to begin a live review with the typical courteous introductions.

Five-piece, post punk, Leeds, Nerve Endings, American Apparel stock room, Possessed.

Given the amount of times Eagulls have appeared on Far Out by now you know their history, you know the Letterman appearance, you know how they got here.

But for the first time since the release of their debut album, I witnessed at an Eagulls show which was a clear, precise glimpse into the future of the band.

Opening with ‘Lemontrees’, a single from their latest full length record Ullages, lead singer George Mitchell displayed his vocal ability beyond the early brephic memories of rowdy Brudenell shows.

Dressed in straight black trousers and a tucked in white shirt, Mitchell had ditched the infamous green coat that added as his previous onstage Eagulls skin and welcomed the crowd in with an unerring honesty.

With new interactive visuals to boot, Eagulls decided to ride the wave of excitement set by support act Traams by playing some fan favourites from the previous record.

But in a night of pure professionalism, a breath of fresh air was lifted and a weight of expectancy weighing on the shoulders of the band was replaced with a notable excitement when new material such as ‘My Life In Rewind’ and ‘Psalms’ flowed around the Islington Assembly Hall.

With a nod to the head of Robert Smith and the Cure, and Peter Mitchell’s photography the latest offering from Eagulls was nothing short of an invigorating stimulant.

A finishing burst of ‘Possessed’ to end was required to send the crowd away in a sweat. For me though, the creative display of a complete show was enough tonic to leave me more than quenched.

Far Out Magazine photographer Clay Allison was at the scene to capture the evening:

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