On a November night when Camden’s pavements still glistened with the day’s gloom, the Electric Ballroom – that old warhorse of London’s music mythology – flickers into life with a heartbeat equal parts shimmer and shadow.
As if jolted awake by some unseen spark, the evening’s music unfurled with a mellow, gentle glow as the iconic Electric Ballroom shimmered and breathed every molecule of its historic shadow particles back into being.
Into that warm, time-soaked haze stepped three very different acts, each bending melody, memory and mayhem into their own strange constellations: the soft-lit harmonic balm of Preen, the shape-shifting psychedelic storm of Hollow Hand, and the charismatic, heart-on-sleeve radiance of Willy J Healey. What followed was a full-spectrum journey – from whisper to whirlwind to warm embrace – the kind of night that reminds you why this old room still thrums like a living thing.
Preen are a three piece singer-songwriter band (Robin Finetto, David Lawton and Evie Tarr) for whom harmony and melody are combined with insightful and emotive lyrics.
Their sound is a delightfully soothing mix of the old and new (there’s a waft of late 60’s pop and indie folk) as they entrance the small but growingly appreciative audience with the ebbs and flows of gorgeous counterpoint and perfectly blended tonality. In the same line there is a simplicity and complexity of chordal structures and harmonies and songs are rarely ‘finished’; they end abruptly and we wonder why there is no resolution…
They are missing 2 band members and substituting a percussive shaker with a coffee tin filled with lentils; and feature a mouth trumpet, which could well turn into this year’s after dinner Christmas game; but their sound and performance is polished, engaging to watch and lovely to listen to.
Hollow Hand – the psych-folk project by Max Kinghorn-Mills- began with its familiar pastoral psychedelia, combining musical ideas of whimsical, slightly askew charm and flashes of cool minimalism before veering steadily but determinedly into wild and unpredictable tonal and rhythmic polyphony. Interludes between songs acted as signals or portals hinting at the band’s vast and stimulating range of influences. Green Meadows of England was a standout, with gentle acoustic guitar and warm harmonies drifting alongside wistful, expressive vocals from Max. We did wonder why the talented bass player with his excellently executed harmonies was standing a way back from the band and wondered if he were shy… (all will be revealed later) but despite this, the standout theme was one of connection between the band. Each of them hyper-focused on their instrument and role, there was somehow a thrilling interdependence that elevated their performance into something genuinely special and exciting.
As the show progressed, the music evolved into a post punk-leaning intensity as though tearing through their own serene world to reveal something rebellious lurking underneath. Tempos shifted into fast, frenetic patterns, led by the fully immersed drummer. Guitar solos erupted, raw and imperfect before the carefully managed energy began to deconstruct and be sculpted into anarchy. Feedback created by urgent pressing of guitars into amps and speakers howled as the band left the stage an aftershow scene of sonic annihilation. The show was like sitting down and listening to a late 60’s prog rock double album- a tale of two cities, two parallel worlds collapsing into chaos and reborn into something shiny and new.
Willy J Healey – After the heart pounding crescendo of Hollow Hand’s finale, strains of the saccharine sweetness that is The Carpenters’ song that everyone (especially your nan) knows, ‘Close to you’ engulfs the by now packed Electric Ballroom. There’s that feeling – you know, when a charming serial killer steps into your aura. Tonight it’s that same comfortable reassurance you get when a guaranteed entertainer, beloved by many, walks into the room with Willy – a rare ease settling as he steps on stage with that smile, that natural, unforced charm, that delicious mix of indie swagger and pop intimacy. Healey’s band tonight is tight, professional, almost telepathic – and yes, there’s that fabulous bass player again, back left of the stage, every bit as throbbingly dependable.
Healey is a natural storyteller, and with effortless wit and charisma, he guided us through the storybook show. Guitar lines meandered, emotional lyrics and moments peak; the songs are thoughtful observations of feelings and the sound is fresh and relatable.
Certainly the audience have come here to be filled with the sort of love and warmth Healey is known for and the night feels like a celebration amongst friends.
Opening with Little Sister, the tight sound and charismatic funk exploded across the evening. The energy on stage was palpable – and oh, how we palped – and you get the feeling he’d love to hug everyone in the room and make them feel loved. Instead, he does it metaphorically with his songs, pouring his personality into each one, dancing about with that huge, infectious grin. The connection with the fans is what makes this such a special gig; there’s joy on that stage, and bonhomie all around.
After having played The Apple, his newly released song, Willy calls out, “Sure feels good to be here today” before singing………. ‘Sure Feels Good’ – and the fans can’t wait to show him they now every word. It’s a big, multi-layered sound that grows and builds to almost a sonic cacophony, before capitulation to mellowness once more.
The show balanced groove-driven, well-loved songs with new music, performed with a fresh energy yet still carrying that much-loved tenderness.
Tonight’s gig was a reminder of what makes Healey stand out: his gentle, reflective contemplation and his empathetic view of life, both of which are such natural vehicles for his soulful, generous confidence. Willy ended the warm, witty and glowy night of soulful brilliance with the closing favourite – and arguably his best-loved song – Fashun, which had the Ballroom bouncing with exultant, energised abandon.
Willy J Healey played the Electric Ballroom, Camden
Wednesday 12th November 2025
Support from Preen and Hollow Hand
