Music Critic Louisa Pickard reviews Olly Alexander’s live show at Town Hall, Birmingham, as part of his Up Close and Polari tour
The ‘King’ of pop is back, and he’s better than ever! Formerly known as Years and Years, with hits including ‘Shine’, ‘Breathe’ and ‘Desire’, Olly Alexander has returned to the UK music scene with a new album, new tour, and whole new aesthetic. I was lucky enough to see part of his rebrand on his first UK night on the tour titled ‘Up Close and Polari’.
Polari references the album’s titular track, and key word for this new era. A dialect first used in artistic spaces during the 18-19th century, it was later adopted by the gay community to evade surveillance and criminalisation. Alexander was eager to invite the audience into this secret world, teaching his Polari ‘word-of-the-day’ as soon as he stepped onstage: he introduced the audience to “propellor” meaning hat, and subsequently donned an extravagant headpiece for the next number. Eagerly waving and attempting to “make eye contact with each and every person”, his down to earth nature immediately won me over.
“Alexander was putting on a spectacle, more than a live gig.
During his introductory speech, Alexander also revealed that Ian McKellen had spoken several lines of Polari in the opening track. This reflected another key aspect of this era: that Alexander was putting on a spectacle, more than a live gig. McKellen’s theatrical connotations resonated perfectly with Olly’s opening costume, which featured an almost Shakespearean-esque ruff. Indeed, moving from the more predictable O2 venues to the historic and extravagant Town Hall, this new aesthetic had been asserted from the moment the audience stepped through the door. Bringing with him a ‘dressing up box’ full of tricks, he donned coats, accessories, and even undressed all on the front of the stage. In this new era, there is no hiding from either the audience, or from himself, as Alexander later admitted. ‘Archangel’, for example, was inspired by a very close friend who supported him through mental health difficulties, and Alexander urged the audience to hold their friends close.
“Singing all of [Years and Years’] beloved songs, he often stylistically edited arrangements to appear more cohesive with his current soundscape, or just to add a new and exciting twist.
However, all this is certainly not to say that Alexander was seeking to forget his Years and Years career. Singing all of their beloved songs, he often stylistically edited arrangements to appear more cohesive with his current soundscape, or just to add a new and exciting twist. ‘Archangel’ segued into one of his biggest numbers, ‘King’, with the transitions here being slick, as with the rest of the show. Turning the hall into a huge dance party, he showed that he was just as happy to play the songs his fans loved. Whilst many big artists are found to be embarrassed or tired of their older hits, Alexander’s endearing personality shone through once more as he embraced such tracks wholeheartedly.
“his talented backing vocalists shone in three-part harmony with carefully rehearsed dynamics and vocal swells. […] Yasmin Green and Joell Fender brought a whole new level of artistry and class to the evening.
He even went as far to embrace moments that other artists have shied away from, such as his Eurovision performance. UK artists notoriously struggle during this European musical festival, often receiving poor marks and a wave of hate, as most recently seen with artists such as Alexander and Mae Muller. However, pulling his iconic red latex trousers out of the dressing up box, Alexander candidly discussed his Eurovision experience, explaining that he no longer found the costume “triggering”. Moving over to the grand piano, he went on to play his Eurovision track ‘Dizzy’ with impressive piano and vocal technique alike, and showing the audience how the song was initially imagined. During this number, as with many others, his talented backing vocalists shone in three-part harmony with carefully rehearsed dynamics and vocal swells. Donning sunglasses and performing choreography that was at once individually expressive and coordinated, Yasmin Green and Joell Fender brought a whole new level of artistry and class to the evening.
The show closed with a slick encore, with Alexander donning yet another new coat but remaining the same, humble and genuine performer that his fans have come to love. The evening was a joyful celebration of self-acceptance, the beauty of art, and community, and it was a pleasure to be a part of.
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