Gig Review: Lynks at the George Tavern

Genre-defying hyperpop champion Lynks embraces the dance chaos of the George Tavern in a packed celebration of Independent Venue Week that gives voice to new artists Lifeloose and TaliaBle.

Lynks is now label-less. That makes them the perfect fit for Independent Venue Week; a celebration of venues not owned by the big live-nation backed giants, the kind of proving ground for new music to come out of places like the George that make people like genre-bending Lynks that we desperately need. The lack of a label has not stopped Lynks from prepping to launch an album independently, we’re told – with the hyper-aware humour of an artist at the top of their game that could easily double up as a comedian sketch show – half these shows I’ve seen from the artist have the energy of an Edinburgh fringe-ready stand-up set (a compliment). It’s free flowing, catchy beats that are irresistible singalong bops – although not featured on tonight’s setlist, ‘Kick the Ball!’, became the ultimate gay anthem of this year’s world cup – a searingly addictive singalong that tore down football stereotypes – perfect for those tired of the ‘Three Lions’ of the world.

First come, in the sweatbox that is the George (it has no right to be this hot in September), electronic wizards Lifeloose. Fresh out of the Windmill scene and completely unafraid to embrace the chaos and disorder that comes with their hyperpop beats, the dance music combines pop and club music with a healthy dosage of music that you can’t help but dance to – their self-titled lead single ‘Lifeloose’ is deployed first, telling the world who and what they are – Aldi Ho and Josie Silverman blending their knowledge of opera and electronic music that they were studying at university together to create a unique fusion of talent that shouldn’t work, but on paper – does. No genre of dance is spared here – Lifeloose display a wicked need for reinvention. They are the first support act; but rarely have I seen the first band on ramp up a crowd as much as these two – and big things are afoot in their future for sure, keeping a deliberately messy tone to their pace that aids their authenticity and unpredictability. In keeping with the sleepover origins of their formation their next gig is a pyjama party single launch at the Windmill – so expect further chaos there. The vocals are appropriately hedonistic and embrace the hipster club music that recalls to mind artists like MM’99 and Bathing Suits, showing that there’s very much a sense of variety in this scene right now.

Lynks crowds can range from dance music to mosh pits and I’ve had the fortunate to be involved in both. This means that their ability to select support can vary dramatically and the next band that we have up is fellow-gimp mask wearing connoisseur TaliaBle, who goads the crowd waiting into a game – enlisting the heavy moshers into a competition: can the audience stop them from making it to the other side of the room? It’s not for the brave but the crowd delight in the challenge and the game begins as TaliaBle is unafraid to get stuck in, high-fiving pretty much the entire crowd and the bar staff looking genuinely happy to be there (as far as we can tell, under the mask – though the energy that TaliaBle gives off is infectious). The hardcore whimsy by nature of a punk-rap melting pot is embraced and all elements are very much felt here for a vibing, free-style nature of a show. The lyricism is poignant, and embraces the punk as hell experimental chaos that you’re never quite sure where it’s going next. Everyone in that crowd was ‘MEZMERIZED’ with TaliaBle creating entire worlds in her lyrics.

Now it’s time for our headliners; and dancers in tow, Lynks arrives on the scene – appearing from behind the curtains to declare “Hello Wembley Arena!” with the witty charm that they’re known for. The George – “Can I call you George?” the audience is asked – was something that Lynks last returned to pre-COVID to play for about, in their words, five people – but is relieved to see the audience return here in a sold-out capacity. Launching into hyperpop favourite ‘I Didn’t Come Here for Art’, the catchy, upbeat lyrics are full of high-camp and chaos. It’s a musical, a stage play, a comedy production, a nightclub set and a gig all in one – able to be the sort of person who will play at venues like Boomtown festival, Selfridges Car Park or Brighton’s Revenge with effortless ease. It isn’t long before in cover-mode and the runout of ‘Pedestrian at Best’ by Courtney Barnett goes down a treat – before ‘Use it Or Lose It’ talks up the pressure of being in the prime of your life and not knowing what to do with it. There is a feeling that this show marks something of a transition for Lynks – from the older material into the new; working out what best works together with the skill of a unique showperson.

Tracks like ‘Commitment Issues’ and ‘Guest List’ feel wickedly aware, the self-awareness of ‘Guest List’ is a potshot at those who beg for Guest Lists and then flake on the day after getting +1s, +3s or even +5s. ‘Guest List’ has the sharp, catchy, fun fueled maverick chaos of early Lynks and is wickedly funny to boot – Lynks joking that “this is going to be a live debut on setlist.com” [it is now edited with Lynks calling it a live debut on setlist, although technically it’s setlist.fm] – meaning that audiences are treated to a world first. The dancers’ choreography is unmatched – and fresh from crafting a sonic mix of sound into a blender of Peaches, M.I.A and Janelle Monae – there are simply no words to describe a Lynks show. The maximalist chaos of the early songs gives way to something with more depth and experimentation – mixed in with the outrageous concept art and storytelling that comes with a live-show driven approach. This is performance, aimed to be witnessed live. This is an artist that exists outside the rules and thrives in the space of community created by chaos.

Tracks like ‘V.I.P’ invite the audience on stage to join in the dance; before booting them off and declaring they’re not important anymore, and the tongue in cheek ‘How to Make a Bechamel Sauce in 10 steps (With Pictures)’ showcases Lynks’ brilliant sense of humour and self-awareness. Beforehand, ‘I’m From London’ goads the crowd – Lynks encouraging other Londoners in the room to sing along and they do – saying understandably it doesn’t go down so well in Northern shows given the anti-capital sentiment. Final tracks – including old favourite ‘Silly Boy’ and ‘Tres Chi Chi’ – see Lynks launching into the crowd and is held aloft at the George for all in the room to see – crowd-surfing chaos ending the night on a high.

It’s a Lynks show, you should know that by now – there’s few things like it in the world.