Palaye Royale at OVO Arena Wembley, London 2024

Photos by Antonio Giannattasio

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The T-shaped stage is uniquely decorated with papier-mâché-style iconic punk images in graffiti style. A red door stands at the back of the stage, flanked by windows, with “Death or Glory” written in block capitals above it. Anticipation fills the air.

I See Stars

Unfortunately, due to circumstances beyond my control, I couldn’t experience or review the I See Stars set. I was eagerly looking forward to seeing them live, having heard from numerous people about their incredible live performances. I hope to get the chance to see and review them again soon.

The Hunna

The stage is enveloped in darkness, and a huge cheer erupts as the silhouettes of The Hunna appear. They start with high-pitched guitar riffs that play eerily alongside elongated vocals that captivate us. Flashing lights illuminate the crowded arena as the band’s electrifying attitude radiates; they’re full of enthusiasm and urgency, filling the wide stage with energy.

The beat pulses in our chests with drum rim clicks, while the lead singer’s moves and intense clapping inspire us to move to the music. They’re showcasing their talents to a crowd clapping along from the front to the back, with a stage presence that feels both strong and authentic.

They announce a “song for people who have felt stabbed in the back.” We release our anger in the mosh pit, feeling the lyrics cut deeply. A murmured bass line gives the set a heartbeat—gravelly and raw. Unique, progressive sounds emerge throughout, while buzzing noises swarm from the electric strings as the lead singer spins, holding projected notes with precision. His stage-jumping is practically an Olympic sport, each high, sporadic landing graceful and effortless. He stands atop the kick drum, belts out vocals, jumps on the guitarist’s back, and then moves to the front row to sing directly to the crowd, who hold him up as they scream the lyrics back. It’s a pure adrenaline rush for all involved, and The Hunna are clearly deserving of the crowd’s adoration.

The set grows heavier in just the right places. What began as acoustic-sounding songs shifts into full-throttle breakdowns, each transition flawlessly executed. The crowd is excited by the announcement of new songs and an upcoming tour—The Hunna are something special, and we can’t wait to see what they do next.

Hot Milk

The riff to “Horror Show” kicks in, and a mosh pit erupts. Han’s energy bursts forth from the start and never wavers. She’s running, jumping, high-kicking, and throwing herself around all areas of the stage. Born to perform, her contagious energy spreads into the crowd.

There’s a lot happening all at once, but the chaos works. Han’s vocals are powerful and versatile, shifting from melodic belting to efficient screams. Han and Jim are multi-talented, commanding both vocals and guitars.

Their performance has surprising layers and depth. “Breathing Underwater” is a sob fest—we’re dancing and crying at once. The crowd gets a solo moment, and it’s LOUD. “Party On My Deathbed” kicks off a wave of crowd surfers.

Han hands out water to the front row, showing her genuine care for the fans. She describes the show as a “place of love in a scary world” and speaks about the importance of events like this, her voice emotional.

They dive into more musical madness, recharging themselves with the crowd’s buzzing excitement in a beautiful energy exchange. Some parts of the set are slower-paced and melodic but quickly turn chaotic and punk. Every arm in the arena is up, swaying side to side. Circle pits open on Han’s cue of “Scream if you wanna go faster, Wembley!” as the pounding vibrations of the instruments reverberate through our bodies.

Palaye Royale

We’re plunged into darkness, the only lights coming from fans’ phones as they wait to record Palaye Royale’s set. It’s an intense moment for the band’s first-ever headline arena show in the UK.

Flashing lights highlight different sections of the crowd, where excitement and suspense fill the air. The stage’s doors and windows glow through thick smoke. Bursts of what look like electrical storms flash between the stage lighting and fans’ cameras, revealing the band members taking their places on stage. The “Death or Glory” sign lights up in harsh red.

Static sounds emerge as instruments clash together. Remington, the lead singer, appears through the on-stage door, and in seconds, he’s at the end of the T-stage, jumping in sync with short bursts of flames. Fists are raised as they open with “Nightmares.”

Remington’s voice fills the arena, sending chills. A single spotlight highlights him perfectly.

Tonight’s setlist is unexpectedly thrilling. “Little Bastards” follows, received with immense crowd satisfaction as we bask in the heat of the giant pyro flames. Sebastian, the guitarist, joins the crowd, his energy as charged as ours. We’re about to see how far their trust in their fans will go…

Sparkling fireworks accentuate the stage, illuminating the band’s ecstatic expressions. Pauses for effect hit at just the right moments. Between songs, they reflect on how “this is all they’ve ever dreamed of” and how “the anticipation for this show now feels like home.” They look awestruck every time they address the crowd as “Wembley.”

Melodic piano playing and huge drum rolls lead into tailored versions of their original songs. Remington, crawling and rolling around the stage, delivers the vocals with passion.

A piano version of “Lonely” showcases their versatility, transforming the song into a unique masterpiece. The balcony ticket holders rise for “Dark Side of the Silver Spoon,” lifting the arena’s energy.

Remington announces, “You would make my mom so proud,” sharing that their mother spent every cent on piano lessons. “This next song is for her…” They play “Fever Dream,” leaving no dry eyes in the audience.

When Remington sings “Broken,” every emotion is palpable. We feel the heartbreak, though his voice never falters. With only piano and vocals under a spotlight, their raw talent shines. Fans’ phone torches resemble distant stars, and these shared moments make the arena feel like one giant, embracing hug.

They prove their showmanship with “Showbiz,” where Remington gets into an inflatable boat and rides the crowd’s waves, his expressions shifting between shock and sheer joy. The pit parts, and Remington stands in the middle, instructing fans to mosh.

Red confetti caps off an extended encore, during which Remington jumps from the balcony into the inflatable boat, trusting the fans to carry him back to the stage. He moves through the crowd, exhaling with a final, ecstatic shout: “Wembley, fucking, arena.”

Witnessing their talents on a massive production scale in such a large arena is awe-inspiring. They’re undoubtedly deserving of their success.

Words were screamed. Tears were shed. Feet were stomped. Pits were moshed.

They’re in their glory era and have proven they’ll be around for a long time.

Artists: Hot Milk, Palaye Royale, The Hunna