YONAKA: BRIGHTON’S DARK ALT-ROCKERS SEIZE THE POWER AT KOKO

“The trio’s most loyal listeners, also known as ‘creatures’, are without doubt the beating heart of the show” | LIVE REVIEW

It’s a quiet, unassuming Tuesday night in March, and I find myself quickly pacing up the steps of KOKO, one of Camden’s most beloved and iconic music venues. Home to London’s infamous punk rock scene, its dark, graffiti-lined underbelly is naturally the perfect pedestal for Yonaka, who’s name derives from the Japanese phrase for ‘the dead of night’.

As I make my way in, the atmosphere is heated. Everyone is noticeably long-haired and leather clad, with jagged black eyes drawn around their real ones. I suddenly feel more than mildly out of place in my flared trousers and waistcoat. This is a crowd who know exactly who they are, or at least who they want to be. With no time to waste, Berlin’s trap metal princess Mimi Barks kicks things off in a McQueen-style leather mask, followed by a wild and relentless set from NOISY, another vibrant talent swept in by the South Coast.

The night starts to draw in further, and tensions begin to rise. My gaze locks in on the gap between the curtains. The Brighton-based trio are rearing to go, emerging from backstage like a mirage. Fine-tuned to the excitable hum of the crowd, they saunter over to their places, seemingly unfazed by the earthshattering screams. Each member is red-carpet-ready, with Theresa Jarvis (vocals) sporting a lairy, Elle Woods-coded pink fur coat and equally chic hat to match. George Werbrouck-Edwards (guitar) and Alex Crosby (bass) exude effortless style and in-your-face attitude, standing either side of Jarvis like an angel and devil perched on her shoulders, except there’s nothing angelic about what’s to come. The alt-rock three-piece are joined by the ferocious Jay Cobain (drums), who also isn’t shy when it comes to causing a little havoc.

YONAKA

Opening with ‘By The Time You’re Reading This’, the crowd immediately lose all composure, erupting in a chaotic burst of energy. KOKO’s blood-red walls, eerie statues, and theatrical gold trim function as an oddly extravagant backdrop for crowd surfing, head banging and explosive mosh pits, and yet somehow it works perfectly.

We’re a few songs deep, and Jarvis takes a moment to admit she’s been on a strict vocal rest for the past week, but you would never have guessed it. Flitting between punchy high notes and inspiring monologues, she seamlessly commands the crowd, parting them like the Red Sea, before launching herself in the middle. We begin to ebb and flow; a fountain that someone has dropped a penny into. Breathless and bewitched, our bodies begin to ripple like water, gradually building into a raging tsunami as the night goes on.

Werbrouck-Edwards takes to the mic alongside Jarvis during ‘Clique’, thrashing around the stage with tumultuous force. Between electrifying riffs and vampiric guitar solos, Crosby’s thunderous bass lines cut through thick and fast, the front row visibly feeding off of his energy. The group’s chemistry, both musical and personal, is palpable. Even when stripped back during an unplugged ‘Give Me My Halo’, it’s hard to shake off the intensity. “I can’t believe how quickly this is going, London”, Jarvis sighs, looking out lovingly into the abyss of swaying arms and twinkling lights.

The trio’s most loyal listeners, also known as ‘creatures’, are without a doubt the beating heart of the show. From dancing hand in hand, to passing each other water bottles, to climbing on one another’s shoulders, there is a strong, tight-knit sense of community. For many diehard fans, being a ‘creature’ is cathartic. Not only is it a lifeline and a source of friendship, but a chance to embrace the darker or ‘uglier’ parts of yourself that make you who you are.

Since the release of their third album Welcome To My House in 2023, Yonaka have proven themselves to be sonic shapeshifters, showing subtle but also major evolution in their sound. Every track is a stand-out in its own right, with Jarvis’ chameleon vocals doing a lot of the heavy-lifting. Songs like ‘I Want More’ might seem self-destructive, but like much of Yonaka’s discography, it serves more as an anthem of empowerment than of toxicity. Playful and willing to experiment, the group often lean into a hyperpop-rock hybrid, exploring the digital age and relationship between gaming and rock music.

After a frenzied chorus of roars, chants, and stomping feet, Yonaka reclaim the stage for one last song, ‘Seize the Power’, offering up a fierce finale. From playing in pokey pubs and clubs to dominating the stage at Reading and Leeds Festival, the three-piece have always championed the importance of hard work, sharing previously that they don’t necessarily believe in ‘luck’, but instead owe their success to committing to the UK and European gig circuit over the past eight years. Now ready for a new challenge, the group are just as eager to conquer the U.S., having already had a taste of L.A. life in recent years.

Pushing full steam ahead with their UK/EU tour, the trio are expected to close things off with a soon-to-be sold-out hometown show in Brighton on March 27. Entering a new era of electronically charged rock, the group aren’t feeling particularly sentimental, but with a future so bright, who can blame them? A force to be reckoned with, Yonaka are gearing up to be one of the most exciting and impassioned British rock bands of the decade.

You can listen to Yonaka’s latest single ‘PREDATOR’ now.

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Heather Collier

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