Pale Waves gig in Oxford in 2018. (Foz87/Wikimedia Commons)
No one likes to live in the shadow of someone else, be it the overcasting shade of a successful sibling, an overbearing parent or even a successful U.K. pop-rock band. Unfortunately, Pale Waves has had to endure countless comparisons to their Dirty Hits labelmates The 1975, who they opened for on tour last year.
It isn’t the most far-fetched comparison; both have catchy melodies led by slick guitar work, with soothing high-pitched vocals glazed atop, backed by atmospheric synths and thick bass on the low end. Singer and guitarist Heather Baron-Gracie isn’t a huge fan of the condescending comparison, stating in an interview with The Fader that, “We’re not the little sisters of them. We’re just friends that are in bands.”
I also think this comparison is a little unfair. Pale Waves may take some inspiration and similarities, but they stand out on there own with more than just the goth aesthetic of Baron-Gracie and drummer Ciara Doran. The lyrics are simple, but work off the music to be emotionally involving and honest such as in “New Years Eve” (I think you’re so kind/And all I give you is such a terrible time/ and I fucked it, never forget.) That being said, the group was still introduced to me as “the goth 1975.”
However, what I find really distinguishes a band, or really any performer, is how they are live – when there are no takes, autotune or a room full or producers to bring the sound together. And it is in this setting that Pale Waves really set themselves apart.
The Larimer Lounge was the perfect setting for Pale Waves: up-close and intimate, with all of the loyal fans packed like hipster-goth sardines in a tin that couldn’t hold the anticipation. The band soon entered the stage with guitarist and bassist Hugo Silvani and Charlie Wood taking the right and left, looking charmingly disinterested. Doran subtly took her place behind the kit, and after some tinkering and tuning, Baron-Gracie took center stage and was greeted like a goth goddess, and it was impossible to not be caught up in the excitement.
After a quick hello and a big smile that shined in contrast to their ever-so-dark lipstick, the band instantly began to show what set themselves apart. The sweet opening synths of “Television Romance” bounced off the walls of the venue, which was soon filled from the bottom with an enriching bass sound. Perfectly played bright guitar chords soon followed, with the final layer of sound fitting perfectly together with Heather’s studio perfect vocals. It was aesthetic heaven.
Each song after followed in the same suit with no detectable flaws. The sound was perfectly mixed to have the catchy synths resonate in the eardrums, but not pierce. Baron-Gracie’s voice would follow suit along with the guitars to be loud and clear in the front of the sound, but not overbearing. And the bass. My God the bass. Each note plucked from Wood’s four string eloped the lounge with a beautiful tone that left a warm fuzzy feeling in the chest. I love it when the sound guy gives the bass player some love, and Wood returned the favor to the warm embrace of the ravenous fans.
The crowd would go nuts before, during and after each song. An excited fan screamed out “I love you Heather!” to which she replied with a sultry “I love you too.” I can’t remember a single minute of the show where a smile wasn’t present on my face until it stopped after about 45 minutes. Ah. I had forgotten they haven’t even released a full album yet. Damn, I wish they had more music out.
While I wish the performance could have had more length, I can’t complain too much about 45-minutes of immersive poppy-goth bliss, which certainly cemented them as standing out in my mind. They may be similar to other acts, but no one sounds like Pale Waves. Comparisons may still come, but if The 1975 is a mainstream skyscraper, Pale Waves do not stand in their shadow. Their building is still on the same block sure, but I find it far more interesting, and with an even better foundation. I’ll be waiting on that album.
Contact arts editor Austin Willeke at austin.willeke@colorado.edu.
