G-FLIP RETURNS TO LONDON FOR FINAL DUMMER SHOWS |

LIVE REVIEW | G-FLIP – O2 SHEPHERD’S BUSH 03/09/24 by Morris Shamah

G-Flip returned to London on 3rd September as part of the final leg of their DRUMMER Tour. Having previously played three nights at Koko Camden in February, these two shows at O2 Shepherd’s Bush Empire were a mix of a victory lap and a chance for new fans and those who missed out the first time to see what the buzz is all about, before the current touring cycle ends.

These two London shows capture G-Flip and their incredible band at the tail end of an era, with all the polish and excitement that come with that.

Opening for G-Flip on this leg is Mercer Henderson, a newcomer to the singer-songwriter indie pop scene, who’s debut EP Not Really Strangers is released today, 6th September. Backed by a single live guitarist and some (many) backing tracks, Mercer sang about sultry situationships and jumped around the stage. It’s tough to introduce yourself on stage like this, but Mercer found the cheat code – she did a cover of Chappell Roan’s “Good Luck, Babe!” mid-set, earning the trust and the sing-along prowess of G-Flip’s faithful. Chappell Roan’s music showed up again later, as “HOTTOGO” was played when the lights went down for G-Flip’s main set.

In comparison to their three shows earlier this year, this feels like a cleaned up, polished, ready-for-the-DVD version of the spontaneous intimate Camden performance. Some of that comes down to the venue – Koko Camden is two thirds the size but twice as beautiful as Shepherd’s Bush, positively overwhelming with a unique personality compared to the West London branch of the national O2 venue brand. You can’t help but miss the sightlines, sound, and signature plush-red nightclub vibes of the revived Camden landmark at every turn. But it’s not just that – the DRUMMER show is now one that countless road testing has transformed into a confident, clean, polished Show-with-a-capital-S. From fan interactions to lighting, every part of the show has been tightened for maximum impact. It’s a true force to be reckoned with.

Take the opening salvo of a drum solo intro, “Get Me Outta Here,” “Hyperfine,” and “Didn’t Mean To” – it punches you in the face like a metal show, all high-octane energy and screaming guitars, while G struts around the stage, possessed, their microphone an extension of their body which is never – not once – still. It’s infectious, it’s undeniable, and by the time the fourth song, “Rough” starts, the crowd on the floor is frenzied and screaming along. “I don’t want any of you tomorrow to have a voice at work!” G-Flip exclaims, egging them on.

The set continues relentlessly. For “GAY 4 ME”, the lights go all rainbow flag colours and G-Flip is draped in a pride flag. They disappear from the stage during “Drink Too Much”, only to reappear on the third floor balcony seconds later. “7 Days” starts soft, ala their stripped-down drumless EP, but only for a single verse. It then explodes into the full-band DRUMMER version. The following “Lover”, a tremendous power ballad, sets the stage for the only genuinely calm portion of the evening, G-Flip’s piano medley and public reflection, where they expressed how grateful they are over their recent rise and success. It’s short lived, and the energy opens up again for the finale and encore. “Be Your Man” – introduced as a love song for Chrishell from their early days of dating – finally got the balcony on their feet. G-Flip’s “Cruel Summer” cover still hits immensely, even after The Eras Tour has hit London, and “Worst Person Alive” is an absolute rager of a final song. It’s an immense, intense 90 minutes, and one that deserves to be remembered with some sort of live recording.

G-Flip’s fame will no doubt continue to rise, and it’ll be no one’s surprise when they play even bigger rooms next time. They’re clearly ready for it, but these relatively intimate shows will likely be remembered as the era where you just had to be there.