Review by Shaikha Rahimi

Gone are the days where rock gigs are only about hair whipping and top-of-the-lungs screaming. From chest patting to the lyrics to swinging the microphone stand across the stage, Charlie Drinkwater draws a line between the audience and the band through emotion. And, above all, by being quintessentially TV Priest.

TV Priest’s debut album showcased who they are as a band as well as their versatility, and their second album hammered down their sound. Uppers was an unapologetic political statement and the predeceasing album seems to have traces of that, too. The earsplitting guitars and drums combined with Drinkwater’s vulnerable and honest lyricism created juxtaposition like no other.

Drinkwater, whose artistry is not limited to music, was profoundly immersed in the lyricism throughout the show. He did not stop at satisfying the audience’s ears; he brought the visuals into it. His stage presence is theatrical in a sense, and he almost innately feels the urge to act out his lyrics. “Life only comes in flashes of greatness,” he exclaimed, with his hands over his head. 

One Easy Thing, one of TV Priest’s most known tracks, had to make it to the setlist, and the band’s ability to immerse the audience into the lyricism shone through once again as Drinkwater said: “And when you used to laugh, rooms used to open for you .. like a mother weeping.” 

He does it once again as he repeatedly patted his chest while building up the crescendo: “I need to sleep, so very, very deeply. But I am on the call, and I am waiting.” This moment was the highlight of the night. TV Priest put on a show that is well-rounded and strikes a balance between theatrical elements and rock music. I would not have been surprised to see curtains closing the show. 

With the size of Firebug’s venue in mind, it already felt like an intimate gig. But Drinkwater took the artist-fan interaction up a notch by sitting at the edge of the stage during Limehouse Cut, one of the many profound moments during the show. Contrary to the studio version of the track where Drinkwater’s vocals are low-pitched and sonorous, he howled and quavered: “Won’t you follow, follow me?” into the crowd without a microphone. Drinkwater is certainly au fait with sustaining fan interactions. “You can find us around our merch stall after the show selling T-shirts to pay for petrol,” he said mid-show. It seems transparency is not limited to his lyricism.

For the audience, this is a rollercoaster with consistent highs and no lows. It encapsulates meaningful lyricism, with zestful stage presence, and timeless sound. Drinkwater’s commitment to the vulnerability of his lyricism carried the audience through a plethora of emotions. He was clearly submerged in the guitar, bass, and drums. You could just see it in his face, and you cannot help but surrender to the intensity of their marvellous crescendos. Nothing held TV Priest back. This show was incised with energy, sensational vocals, and unparalleled stage presence.

The support act were London-based alternative-rock band Modern Woman. Their music is hard to label and is mysterious in its intent: post-folk-meets-art-rock. The layered instrumental excellence of the violin – yes, a violin – and the electric guitar with the rhythmic cymbals created a goosebump-inducing sound.

But it was TV Priest’s night: a show that felt like a raw, orchestral post-punk trip that gave the audience a thrilling adventure that was all about screeching guitars, pounding drums, and authenticity.

TV Priest’s current European tour takes in France, Belgium and Switzerland and concludes in Köln, Germany on Friday, November 25. Buy tickets at https://www.tvpriest.com.