More about: Alexandra Savior

Packing into Camden’s Electric Ballroom for Alexandra Savior is like stepping into a time machine. On a tour originally supposed to happen back in 2020, directly off the back of her hit 2nd album The Archer, it’s been a journey to get here. With her victory lap stolen from her by years of lockdowns and the tour seeming to change every week with city cancellations and venue changes; I'm sure she thought she’d never see the day.

But by 8:30, the venue is full and the day is here. Supported by the soft, piano ballads of Morley, by the time Alexandra steps onto stage everyone is desperate for some guitar. And after a quick hello we’re into it. Re-introducing herself with the heavy guitar of Saving Grace, she wastes no time in reminding everyone of the sound that stole the top stop of 2020 best album lists. Mixing gentle, haunting vocals with bold instrumentals, the balance is perfected by her band, especially her guitarist Mitchell Gonzales who peppers each track with those signature little riffs and slide guitar howls. Doing silly voices and floating around in a vintage ball gown, by the second song ‘Crying All The Time’, I think everyone has firmly fallen in love.

In between choice cuts from her debut album and The Archer, we’re treated with two teasers of things to come. ‘All The Girls’ suggests something moodier is on the horizon. With lyrics that seem to hint at the treatment of women in the industry, there’s an angstier edge that's different to before. No longer as character driven or theatrical, instead there seems to be a basis in honesty like a necessary outpouring of upset to be able to pick herself up. On the flip side, the 2nd new track ‘You Make It Easier’ is simply a sweet little song, affectionately nicknamed ‘You Make It Cheesier’ by the band. Sure to become a favoured love song of cool couples, any new Alexandra Savior music is long-awaited.

Despite being 5 years out from the release of her debut The Belladonna Of Sadness, those old tracks seem to get the biggest reaction. During ‘Vanishing Point’, there’s arms in the air and a surprisingly male-heavy chorus of voices singing the words back. Maybe i’m cynical, but i dont remember the last time i was at a woman’s gig where the crowd was predominantly men, and from a brief look around at all the slick back hair and 70s collars, it’s hard to not think the reason is something other than Alexandra’s talent. 5 years on from her collaboration with Alex Turner on that debut, and from when she penned one The Last Shadow Puppets biggest songs ‘Miracle Aligner’, I wonder when she’ll be free from the, albeit golden, shackles. With audience members whispering about Arctic Monkeys riffs and Alex Turner lyrics, it’s irritating feeling like the presence of a man that isn’t even here cast a shadow on her performance, especially when The Archer was entirely her own doing. 

At least no one dares mentioning it as she steps back onto stage for an encore. Falling into a stripped back version of title track ‘The Archer’, her voice and her voice alone hushes the room. With its cuttingly beautiful lyrics and simplicity of style, it's a flawless track performed perfectly. And just when she has us in the palm of her hand, the guitars kick in and transform it all. Rounding off the set with a huge guitar solo where even Alexandra herself steps back to watch Mitchell in awe, it’s a big finish that speaks to the power of finding your dream band. Perfectly suiting her nostalgic style without smothering the delicacy of her lyricism, it’s a match.

Overall, she seems to be having fun. Regularly gushing about her love for London and her excitement to finally be on this long overdue tour, there’s a sense that she’s ready to kick back into action. With the world open up again and a new album ready, the green light is glowing for Alexandra.

See photos by Phoebe Fox below:

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More about: Alexandra Savior