As Pitchfork London celebrates its fifth anniversary, the ‘Dalston Takeover’ evening returns, featuring a variety of East London venues – EartH, The Shacklewell Arms, Cafe Oto, The Victoria, and St Matthias Church – all open to attendees with a wristband.
The event offers a chaotic evening in Dalston where festival-goers navigate between venues searching for their favorite underground and alternative acts, with artists like Runo Plum, underscores, Jay Som, Momma, and Teethe on the lineup. The experience seems intentionally overwhelming, with the most challenging decision of the night being whether to see Panchiko or Indigo De Souza as the closing acts. Keep reading to discover which option reviewer Julia Bottoms chose.
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Renny Conti
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NYC indie rocker Renny Conti has gained popularity in the DIY scene. His tenor voice, reminiscent of Conor Oberst, places him alongside artists like MJ Lenderman and Alex G, sharing quirky and reflective thoughts on his mid-20s. Conti’s songs often have a playful rhythm, occasionally enhanced by the charming twang of lap steel. However, tonight he opts for electric intensity, performing with his band in the energetic atmosphere of The Shacklewell Arms.
Opening with the lively 'South Star' immediately gets the crowd moving. His lyrics are open and emotionally honest, resonating with anyone who has sought to articulate feelings of uncertainty. Unfortunately, his set is brief, but in the limited time he spends on stage, Conti gives the impression of an artist on the verge of something significant.
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hey, nothing
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hey, nothing certainly proves they are not insignificant. Hailing from Athens, Georgia, the mid-west emo duo Tyler Mabry and Harlow Phillips sport casual attire of baggy jeans and oversized sweaters, mirroring about 90% of the audience.
One might assume that an all-acoustic set would struggle to fill EartH theatre, a sizable amphitheater with nearly 700 seats, yet the duo fills the space as if performing in an arena. This is especially notable as their upcoming EP 'Maine' was crafted in a small cabin in rural Maine, showcasing their adaptability to the broader setting.
Their sound is intentionally raw and unrefined, with emotionally charged vocals. Their sweet vocal harmonies contrast with heart-wrenching lyrics such as "I can’t wait not to go home" from 'Maine', a song that lingers in my mind long after.
They perform some more upbeat tracks with lively riffs, but the majority of their songs lean toward a slower, comforting vibe. While the lyrics reflect on heartbreak and struggles, the duo’s sharp humor during moments of interaction with the audience provides essential emotional relief between songs. Nonetheless, some tracks, particularly '33°', evoke genuine devastation, evidenced by audible sobs from the audience behind me—a testament to their emotional impact.
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underscores
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underscores electrifies the crowd with an exuberantly bold and frenetic set, thrusting EartH Hall into a full-on rave atmosphere. Explosive glitch-pop beats clash with dubstep basslines, creating an exhilarating experience.
April Harper Grey, the artist behind the name, maintains anonymity throughout the performance, remaining lit only by the strobe light that flashes lyrics and visuals behind her. She prowls the stage with a suitcase, her hair streaming wildly as a large fan blasts wind, giving her an ethereal presence, suspended between realities.
On the jittery beat of 'Music', Grey uses a vocoder for the line “Last night I had a wet dream about the perfect song,” sounding like a fusion of human and machine. Songs like 'Johnny Johnny johnny' and 'Locals (Girls like us)' are favorites from her 2023 album Wallsocket, along with the newly released tracks 'Do it' and 'Music'. The mosh pit buzzes with flying drinks and sunglasses.
In a post-Brat world where maximalist internet-core and ‘hyperpop’ styles are edging into the mainstream, underscores remains refreshingly unique—her music is addictive. Having been active on SoundCloud since the age of 13, Grey's sound was initially influenced by artists like Skrillex, and her style has evolved with impressive flair.
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Panchiko
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And at last, the main event. A crowd of anime-shirt-wearing fans fills EartH Hall in eager excitement as the five-piece cult favorite is welcomed with enthusiastic cheers from grown men vying for the front barrier.
For those unfamiliar with Panchiko's history, here's a brief overview: The band formed between 1997 and 1998 when childhood friends Owain Davies, Andy Wright, Shaun Ferreday, and a drummer named John were between 16 and 17 years old. They disbanded in 2001 while still unsigned, but were rediscovered in 2016 when an anonymous 4chan user stumbled upon a distorted CD copy of
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As Pitchfork London marks its fifth year, the ‘Dalston Takeover’ night makes a comeback, featuring a variety of East London locations, including EartH, The