LIVE REVIEW + PHOTOS: ONLY THE POETS AT THE O2 ACADEMY BRIXTON, LONDON 02/02/26
Full photo gallery here
Just a heads up: grab a coffee, this will be a long one, and I’m not making any apologies for the word count because what happened on Monday, 2nd of February at O2 Academy Brixton wasn't just a gig - it was history. You can’t summarise a decade of hard work and a literal industry revolution in two paragraphs. If you were there, you’ll know why every word matters; if you weren’t, settle in, because Only The Poets (OTP) showed us exactly how you execute a mission successfully.
There is an old proverb in the corporate world that people don’t invest in businesses; they invest in people. On a cold Monday night in South London, 5,000 people didn't descend upon this landmark venue simply to hear catchy hooks; they were there to back four human beings who have spent a decade refusing to sell their souls or price out their fans.
In a landscape dominated by "Ticketmaster wars", dynamic pricing, and the soulless privatisation of live music, they decided to flip the script entirely. By charging just £1 for a headline slot at this iconic venue - matching the price of their first-ever gig seven years ago at Reading’s Purple Turtle - the band turned a sold-out gig into a “monumental” protest (pun intended).
Behind the band hung a simple, defiant sign: "Live Music is not a luxury; keep it accessible." This was a mission statement, not some opportunistic slogan or a trend they decided to hop on for the Brixton stage; it’s a philosophy they’ve been vocal about since day one. This is exactly why they have managed to build such a formidable, loyal following: they are consistent in an industry that rarely is. While it’s easy for an artist to dream up a clever gimmick for a quick PR win, Only The Poets stand out because they’ve proven they actually care about the health of the live circuit. This wasn’t a marketing stunt; it was the culmination of a decade of hard work, grit, and a refusal to forget where they came from.
The transparency of the night was revolutionary. During a cost-of-living crisis, the band meticulously broke down the £4 total cost to ensure every penny served the community:
£1 Ticket Price: A nod to their DIY roots.
£1 Donation: Directly to the LIVE Trust, funding the UK grassroots ecosystem.
£1 Venue Restoration Fee: Protecting the venue
£1 Ticketmaster Fee: A negotiated, reduced service fee - proof that artists can force the giants to play fair.
This consistency isn't new. It’s the same "Honesty Policy" seen in their No Income Ticket Giveaways on their ONE MORE NIGHT 2024 European Tour and Low Income Tickets initiative over the years, and still present on their AND I'D DO IT AGAIN tour. They aren't just talking about change; they are subsidising it.
This dedication to the creative community even extended to the pit; through a partnership with Nikon, the band selected aspiring photographers to capture the show, providing them with professional gear, exclusive access, and mentorship. It was a clear signal: if OTP is moving up, they are bringing the next generation of creatives with them.
The selection of the supports was a message in itself. Rather than a corporate choice, they hosted a 'Battle of the Bands' at The Purple Turtle on 31st January. Over 1,000 acts applied, a Top 50 list was announced, and a Spotify Playlist was created to showcase these artists, and 5 were shortlisted to perform live in Reading. The band’s initiative wasn't just a talent search; it was a redistribution of power, ensuring that all final shortlisted acts were paid - a direct challenge to the pay-to-play culture that still stifles emerging talent to this day.
Let’s be honest for a second: breaking into this industry is an uphill battle, especially for working-class creatives who don't have a safety net. Only The Poets know this struggle because they lived it. They understand the reality of lone working, self-doubt, and the long hours spent grinding away at a 9-5 just to fund a passion that the industry often treats as a luxury. By opening these doors, OTP is providing the kind of structural support that is so often missing. It was a clear signal: as the band moves up, they are intentionally pulling the next generation of creatives up with them. They aren't just giving back to the industry; they are trying to fix it.
Belle Dame opened the show and arrived with the confidence of a band that’s already handled 20,000-strong crowds in Portugal. Formed in 2021, the Bristol-based four-piece - comprising Edd Moreira (vocals, guitar), Flynn Forgeau (guitar, back vocals, keys), Ben Ballantyne (guitar), Fin Robertson (bass), and Morph Harries (drums) - hit the stage with a massive sound that draws from the best of the 2000s: the energy of The Strokes, the grit of Cage The Elephant, and the rhythmic drive of RHCP.
This wasn't a lucky break; it was the result of a band that has played every type of stage the UK has to offer. They’ve done the London circuit at spots like Dublin Castle, and The Fiddler’s Elbow, but they’ve also put in the miles at independent mainstays like The Bunkhouse in Swansea, Level III in Swindon, and The Shed in Leicester.
That experience - the same kind of "van and a dream" apprenticeship Only The Poets went through- showed in their performance. Whether it was selling out The Joiners in Southampton or playing to 20,000 people at the Sebastianas Festival in Portugal, Belle Dame have clearly learned how to hold a crowd. Having shared bills with everyone from King Nun to Wet Bed Gang, they arrived at Brixton ready to rumble. By the time they hit the first chord, it was obvious they weren’t there to just fill space, but because Brixton was simply the next logical step.
Their set was a masterclass in dynamic performance, anchored by the highlight of the infectious energy of 'Mary Sue'. The track, which earned them a well-deserved feature on BBC Radio 1, saw the energy in the room shift when the audience took over, singing the chorus and melody back at the stage. It gave everyone a taste of exactly what the rest of the night was going to look like.
Lyrically, they delve into the introspective complexities of modern life, a theme that resonated through tracks from their 2023 debut album, LA WONDER. There is a polished, unbridled passion in their craft that bridges the gap between the DIY of their roots and the high-gloss finish of their recorded material.
As they closed out their set, the band shared: "Music is a privilege, but it’s a privilege we all should have." That sentiment tied directly into the whole spirit of the night. It was a reminder that grassroots music is the heartbeat of the industry, and without the intimate venues, the path to stages like the Brixton Academy simply doesn't exist. Their sign-off was a call to remember that music isn't a privilege for the few, it’s a shared right. It served as a powerful reminder that music belongs to the fans just as much as the people on stage.
Belle Dame was a fantastic start for a night defined by democratic access and protest.
Then came SEREN, who navigated the Brixton stage with the composure of someone who has already lived several lives in music. Originally from Stroud, she’s been refining her craft since she was thirteen, starting out on her grandmother’s keyboard before moving to London at sixteen to attend the BRIT School.
Her career has been defined by a rare level of professional momentum for such a young artist. Before even releasing her debut EP, she had already performed at KOKO Camden, played the Ivors Academy night at The London Palladium, and created the music for the Mastercard X Brit Awards advert.
SEREN’s music style is honest, intimate, and introspective, inspired by soul, pop, and folk. Her songs explore the joys and vulnerabilities of everyday life, and are described as a fresh and exciting addition to UK pop, focusing on story-driven songwriting.
With only four songs currently released on her debut EP, Where The Heart Is, the set was a bold look at what’s coming next. She used the Brixton scale to test a wealth of new material, including 'Ashtray', 'Something True', 'Adolescence', and 'The Light'. She introduced 'Ashtray' by talking about the "TikTok doom scrolling" that plagues us all, perfectly capturing the modern social media experience.
While tracks like 'River' and 'Mother’s Daughter' showed her ability to blend unguarded honesty with massive melodies, the standout moment came during the unreleased 'December 31st'. She had the entire audience in the palm of her hand, orchestrating a sea of waving arms. By the time she finished, it was clear that her history with the headliners is the backbone of a career built on genuine growth. She finally has the stage that matches the scale of her voice, and she owns every inch of it.
To understand the sheer weight of the atmosphere in the room, you have to understand the journey it took to get there. According to Concert Archives, this Brixton date was roughly the 450th live show for Only The Poets. This isn't a band manufactured in a lab; Tommy Longhurst (Vocals), Andy Burge (Bass), Clem Cherry (Drums), and Marcus Yates (Guitar) are the definition of forged in the back of cramped cars and the cold reality of the working week.
The band's narrative is one of jarring polarity. On 22nd April 2022, they stood on the stage of the OVO Arena Wembley supporting Louis Tomlinson - a milestone that should have meant they made it. Yet, as Tommy recently shared online in an interview for OxfordStudent.com that 48h after that Wembley high, he was back in his hometown painting a downstairs bathroom. While the industry looked at them as rising stars, Clem was driving for Amazon, Andy was gardening, and Marcus was cutting wood. They spent seven years in a "grind" that almost caused them to break, not because of internal conflict, but because a predatory industry makes it nearly impossible for working-class artists to survive.
That resilience is exactly why the announcement mid-set was so explosive. When the band shared that their debut album, AND I'D DO IT AGAIN, had officially entered the UK Official Charts at Number 10, the roar was a constant and deafening 2 minutes. They joined the ranks of Sam Fender, Arctic Monkeys, Lewis Capaldi, Craig David, and Oasis - artists who all turned a debut into a genuine cultural shift. Despite their success, their initiatives are proof that their integrity isn’t for sale. As Tommy put it, "Every ladder we climbed shaped who we are tonight."
They opened their set with 'I Keep On Messing It Up' and 'Over & Over', immediately setting a pace that never let up. The early set was a run of fan favourites and new staples, moving through 'God Knows Where You Were' - which saw the room erupt into a massive, chanting chorus - and the catchy ‘'Don't Wanna Know', followed by the 'Emotionally Hungover', which has quickly become one of their most essential tracks. It captures that specific, modern exhaustion - the mental "hangover" that comes from navigating relationships and career stress in a digital age.
The transition into 'Every Song I Ever Wrote' and the anthemic 'Monumental', taken from their debut album, provided the emotional heart of the evening. During 'Madeline', a sea of flashlights transformed the Academy into a constellation. It was a moment of pure, quiet connection that made 5,000 people feel like a small room of friends. But just as the room settled, OTP, of course, flipped the switch. After the quiet connection, Tommy asked the crowd if they were ready to step things up, and the response was immediate. The band moved into a high-energy block starting with 'Crash'. They followed up with ‘Freeze’ and 'Saké', which show off the more polished, electronic side of the new album. 'Saké' in particular stood out as it has a massive Eurovision-esque party energy that felt like it was written specifically for a stage of this size. It’s a departure from their earlier Britpop-influenced tracks, but it worked really well to keep the energy going and keep the entire venue, including the seated circle, on their feet.
By the time they reached 'One More Night', the level of crowd interaction was staggering. The last time I was in Brixton Academy was for Three Days Grace, and it is a massive credit to Only The Poets that they managed to command the room with that same level of veteran presence on only their debut album cycle. To see a band generate that kind of physical response and total vocal participation, usually reserved for artists with 20+ years’ worth of released albums, shows they have done something right, and they belong on these stages.
For the encore, they returned with 'JUMP!', and as the second confetti cannon went off, the energy was exactly what you’d expect from the song title, but instead of ending on that predictable high, they closed with 'Emotional'. Finishing a Brixton show with a demo track is a bold move, proving that, despite their chart success, they haven't forgotten the early days nor lost the vulnerability felt during those tracks.
Before the music stopped, Tommy took a moment to address the room one last time: "We used to come to gigs here... thank you for changing our lives. Thank you for being a part of history. We are the cheapest ever gig at Brixton Academy, and you have no idea what this means to us. This is so much more than music, it’s about a conversation, so keep the conversation going because Live music is not a luxury, so let’s keep it accessible."
Critics might look for a marketing gimmick, but what they’ll find instead is a mission. OTP stands out because they remained consistent. From the Nikon partnership that gives aspiring photographers a break, to the Battle of the Bands, to the £1 price point, they are rebuilding the industry from the inside out.
Even if you aren’t a fan of their 90s-Britpop-meets-modern-indie sound, you have to respect the initiative. Passion always beats industry greed, and Only The Poets proved it on a Monday in London.
With a sold-out OVO Arena show looming in March, this marks the start of an era where authenticity is the only currency that matters.
Words: Vlad-Paul Ghilaș
Photos: Justyna Serafin
