It’s the first of May and love is in the air, even at the O2 Forum in London’s Kentish Town this evening.
The beautiful art deco interior, with its huge, quivering glitter ball scattering tiny lights like confetti over affectionate couples and warm groups of friends, sets the scene as they just keep pouring in for The Paper Kites…
Inadvertently announcing into the mic, which she must’ve thought was off, “I’m shitting myself,” flame-haired Rosie Carney opens the evening. Her at first quavering, versatile voice fills the venue with her equally individual music—a contrast of easy-on-the-ear chords yet gradual, organic emotions communicated through heartfelt lyrics underpinned by acoustic guitars and an emphatic, reassuring drumbeat. Her melancholy yet dreamy vocals, echoed by her guitarist, vibrate powerfully, showcasing her impressive range and depth of emotional resonance and connection.
Third song in to a short seven track set was a cover of Radiohead’s The Bends. It has an ethereal feel, its meandering other-worldliness perfectly captured by Rosie’s intensity and versatility. Lovers are close, the mood is contemplative and warm and the feeling here tonight is of catharsis, providing both solace to those who may need it while bringing a sense of uplifting, inspiring hope and resilience. The raw honesty of Rosie’s lyrics combined with the organic warmth of the instrumentation creates a sense of intimacy that makes us feel as though we are sharing in the artist’s innermost thoughts and feelings tonight. Rosie’s awe and wonder at being here (by the end of her set the Forum is nearing its full capacity) and her slight awkwardness and vulnerability only enhances the music and her performance – it has a fervent, spiritual impact that leaves us soothed, fascinated, intrigued.
The Paper Kites come out on to a low-lit stage to excited screams and adoring cheers and shouts from the by now rammed auditorium. Showcasing their fabulous new album, ‘At The Roadhouse’ they begin tonight’s simply stellar set with a simple G chord, gently but assuredly strummed repeatedly as they all take their places, unlike the last time we saw them at KOKO, this time they are all seated, all still; creating a perfect sense of anticipation, a gentle thrill of excitement, an exquisite pause before the gorgeousness unfolds itself.
The stage is set as if we have, by some lucky chance, stumbled into that off-the-beaten-track roadhouse and struck gold."
The G chord becomes suspended, and the pedal steel swells into a slow, mellow start. A burnt-orange glow lights the stage, as aesthetically pleasing as any mid-west sunset, with a harmonica’s wail building into the layers of sound. This is music that looks and sounds effortlessly relaxed—there’s a feeling of spontaneity, of serendipity. The stage is set as if we have, by some lucky chance, stumbled into that off-the-beaten-track roadhouse and struck gold.
This is special stuff."
There’s huge applause as they finish “Between the Houses,” and the collegiate atmosphere is only enhanced as we wonder at the joyfulness of their collective music-making, their mutual enjoyment of creating this insistent, warm sound miraculously shared with us, the lucky listeners. Continuing with “Till the Flame Turns Blue,” the gentle, effortless, insistent fingerpicking combined with the sublime sonority of their perfectly matched voices creates a feeling of ambience so genuine and so goddamned toasty, one might even say we felt a touch smug that we are here tonight. This is special stuff.
There's no butch way of explaining it—the harmonies are just lovely to listen to."
Sam Bentley (lead vocals, guitar, keyboards) calls out, “Good to be here, London” before telling us it’s “incredible to be here!” Sam goes on to say that this show tonight is the biggest they’ve played- and the audience celebrate with the band by cheering for a minute or so before Sam shouts, “We love you London- we’re going to have a good night!” and pushes into “Hurts So Good”.
Sam tells us, “a lot of lovers come to this show (this is clearly evident!)."
There’s no butch way of explaining it—the harmonies are just lovely to listen to because the counterpoint is so nice to hear and works so well. The notes stream out of the instruments and voices seemingly effortlessly, yet they fit together absolutely perfectly.Sam tells us, “a lot of lovers come to this show (this is clearly evident!) -and they think they’re safe from the sadness because they’re in love…” And perhaps we all are tonight because this music is divine. From the delicious squeak of fingers sliding over frets to Christina Lacy’s vocal virtuosity and versatility (she can do and play everything), we are protected from all that is bad by a musical shield of awe-inspiring talent and natural, harmonious interconnectedness from everyone on stage. The music swells and throbs, and the voices blend so well, pitched to perfection, soaring over the stillest, quietest of crowds. This is poignant—a beautiful moment of appreciation and a sharing of intimate and precious music between lovers, friends, and strangers.
They create a musical jigsaw where everything fits together just as it should. "
After Green Valleys and Tenenbaum, Rosie Carney joins the musicians to sing By My Side and a choir is created within the audience- a three part harmony to join the counterpart. After this, the band down guitars and instruments (apart from a mandolin) and come close together to perform Bloom– the loveliest song that has gone platinum in the States. The sweetness and simplicity of the plucked stings combined with this true chorale (there are no divas here- they are all clearly committed to the greater good- this one celestial sound made together, each singer an equal part of the whole). They create a musical jigsaw where everything fits together just as it should.
The intricate interplay between the instruments and voices creates a lush sonic landscape that envelops the audience."
It’s clear that The Paper Kites are masters of their craft. The intricate interplay between the instruments and voices creates a lush sonic landscape that envelops the audience, transporting them to a place where time seems to stand still. Apart from very gentle swaying, we ARE still. The sense of anticipation, there from the very first chord, builds and grows more powerful as the storytelling continues. Notably remarkable is the Paper Kites’ bond with their audience, Bentley sharing anecdotes and insights into the inspiration behind the music, creating a sense of intimacy that makes each of us feel like a friend, a fellow musician even and definitely a participant in this evening of joy.
It has to be said, The Paper Kites have a way of stirring the soul."
Following Bloom, the mood changes and the rocky buzz of June’s Stolen Car injects the crowd with a burst of rebellious energy, vibrant electric guitar leading the way into this different section of tonight with a story of reckless lawlessness. This set is nothing but varied- it is folky, blues-y (Black and Thunder), and rock-fuelled; after all, when he was once asked to define the definitive Paper Kites style, Sam Bentley replied “We are whatever we released on the last record.”
The band, finishing with Paint, leave us satiated and uplifted. A palpable sense of camaraderie has grown between the band and their fans, fostered by their genuine and humble demeanour on stage and their joyous, intimate music. It has to be said, The Paper Kites have a way of stirring the soul, igniting the imagination and making all seem right with the world.
The Paper Kites played O2 Forum Kentish Town – 1st May 2024 – support from Rosie Carney
