LIVE REVIEW: Alexandra Savior + Flyte at Oslo

Known for its quirky side streets, vintage shops and wide range cultural influences. Hackney really is a wonderland, one of the most optimistic areas of London, in nature and personality. Beside the train tracks we find Oslo, a hip and happening bar and venue that is cool enough to house both dive bar dropouts as well as trust fund socialites.

London four-piece Flyte open proceedings with their ’60s inspired pop rock. A force to be reckoned with, Flyte’s combination of modern pop and Beatles-esque vibes chills the bone, refreshingly beautiful. At points, reminiscent of Tame Impala but in no way a rip off, the boys show there’s a more sensitive side to the usual macho indie rock that’s taken a foot hold in British music. The pinnacle of the band’s sound comes in the form of the yet unreleased ‘Sliding Doors’, which pulls at the heartstrings with a soaring chorus chocked full of great vocal harmonies and massive sounding synths. It’s easy to see why they are holding ‘Sliding Doors’ back, as its going to be massive when it’s released.

Waltzing onto the stage, Alexandra Savior and band are greeted to rapturous applause. Kicking off the set with ‘Frankie’, Savior shows elegance and grace in her demeanour, she almost understates everything that is expected from a female in such a shallow industry, yet she is mesmerising to watch. She dresses up, not for the audience or to take an edgy Instagram worthy photo, she does it for herself. Every action and reaction to what is happening on and off stage, is so natural and sincere. She looks genuinely surprised at the amount of people who have turned up to the show tonight.

The longer the set draws on, the more hypnotic she becomes, like a sorceress that’s channelling the spirit of Iggy Pop. In an almost ritualistic performance of ‘M.T.M.E.’ Savior’s blood curdling screams chill the bones as she crouches over her microphone, hair covering her face. Kicking into fan favourite ‘Shades’, all eyes were now firmly fixed to her and for good reason, it’s a flashy and arresting performance. Between songs Savior’s general chit chat seems awkward, like she’s not quite used to the façade yet, but it makes her all the more endearing, more human. Closing out the set with ‘Mystery Girl’, the perplexing, enchanting conclusive moment of her debut album, she’s clearly put a spell on all of us, just when we think we know her, she insights us to ask who is this mystery girl?

Alexandra Savior’s ‘Belladonna of Sadness’ is out now via Columbia Records.

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