Meltdown Festival: Warpaint at Southbank Centre

After over a year and a half hiatus, Warpaint have been revived for this year’s Meltdown festival at the Southbank Centre. Kicking off Harry Styles’s curated line-up, there seems to be no greater time or occasion for the LA quartet to reunite. The band are singular in their kaleidoscopic sound, replete with intricate guitar melodies and rich choral quality, so Styles’ selection comes as no surprise.

The concert opens in a red mist so dense that only faint silhouettes, posed with their instruments, are visible. As Burgundy (a fitting choice for the stage’s colour) starts to play, spotlights break through the haze one by one. This moody, theatrical beginning is enthralling, matching their sound and style so well.

When the song ends, the lights come up, and lead vocalist Emily Kokal brings some cheer to the room, encouraging the seated crowd to dance if they feel like it; “I know it’s only Thursday”. When the recognisable beat of Love Is to Die strikes up, people already start to stand and sway, bewitched by Warpaint’s skilful blend of vocals and clear guitar lines.

The pace changes from here, as faster, more rhythmic numbers follow, accompanied by a light show that matches the atmosphere. The set list is well-balanced: a band so ethereal and dreamlike could struggle to deliver in a sit-down venue like the Royal Festival Hall, but each track brings new life to the room, shifting easily through sombre and energetic tones.

“By request”, Undertow comes later, and is met with applause, as more people rise for this clear favourite. The chorus and complex instrumentals of this song are nearly hypnotic live, combining shimmering, pop-esque guitar parts with the band’s resounding harmonies. At the end, the instrumentals stretch out, and Kokal sings a beautiful verse of Kate Bush’s Running Up That Hill. The moment feels special, arresting, and one of a kind.

Keeping the room captivated, Warpaint’s haunting Billie Holiday comes next, slow and melancholic. The quartet doesn’t seem to let up in their mesmeric performance, breaking from their meditative state just a few times to talk to the crowd and collect themselves. This is a testament to over 20 years of experience.

They finish the set with Krimson, a song that epitomises their punk and grunge influence, before returning for the encore. A delicate acoustic version of Common Blue, one of their most recent singles, brings the awaiting audience back into a trance. What follows is a deep cut from their arsenal. Angsty and lengthy, showing their versatility and endurance, Beetles is the final note that Warpaint leave on. It summarises the whole gig: from start to finish, this returning performance feels like a one-off, entirely rare and unique for the band. It is a wonderful start to Meltdown’s ever-sophisticated and masterful repertoire, and speaks to the anticipation of what could be next for the group.