Skynd’s London show was never going to be an easy watch and didn’t try to be. From the moment the room darkened, a tension hung over the crowd that felt very different from a typical gig. This wasn’t about expectation in the usual sense; it was something heavier, closer to unease.
The stage design reinforced that feeling. Stark lighting, cold visuals, and the familiar monochrome aesthetic created a clinical, unsettling setting. When Skynd emerged, there was no introduction, just an immediate drop into ‘Michelle Carter’ that set the atmosphere for what followed. The crowd response wasn’t explosive; it was focused. People weren’t just there to move; they were watching, absorbing.
‘Elisa Lam’ and ‘Tamara Samsonova’ followed, each track shifting pacing while keeping the underlying discomfort intact. The performance balanced theatrical and restrained, never tipping into spectacle. Skynd’s vocal delivery stayed controlled and deliberate, making the subject matter hit harder.
By the time ‘Andrei Chikatilo’ and ‘Armin Meiwes’ came around, the set had settled into its rhythm. The visuals behind the stage did much of the heavy lifting, strengthening the narratives without overwhelming. It felt curated rather than chaotic, every moment placed with purpose.
Mid-set highlights like ‘John Wayne Gacy’, ‘Edmund Kemper’, and ‘Richard Ramirez’ featured heavier, more aggressive production. Those moments saw the crowd break out of the initial stillness, with movement spreading through the floor. Even then, it never crossed into the kind of release expected at a heavier show. The atmosphere stayed tight, almost claustrophobic.
Later tracks like ‘Bianca Devins’, ‘Jimmy Savile’, and ‘Mary Bell’ brought the mood down, trading intensity for something more reflective. There was a clear shift, with the audience pulled into a quieter, more attentive state. This constant push and pull makes a Skynd set stand out, refusing to let the crowd settle into one emotional lane.
Closing stretches with ‘Aileen Wuornos’, ‘Columbine’, and ‘Heaven’s Gate’ felt particularly heavy in sound and subject. By this point, the performance had become immersive, less like a concert and more like a fully realised concept piece. ‘Jim Jones’, ‘Gary Heidnik’, and ‘Tyler Hadley’ carried that momentum forward without losing focus before ‘Mikhail Popkov’ brought things to a stark, abrupt end. There was no big finale, no drawn-out goodbye. The set ended deliberately unresolved, which suited the night’s tone perfectly.
Skynd’s London performance wasn’t about crowd interaction or big singalong moments. It was controlled, uncomfortable, and at times difficult to sit with, but that was the point. Rather than offering escape, it forced the audience to engage, making it one of the more distinctive live experiences to pass through the city this year.
Review & Photos By Nick Davarias
https://www.instagram.com/nick.davarias
