Printworks, no matter what you’re going to see, is impressive and embarrassingly cool. Even its monochrome bar is unapologetically aesthetic; and the blue-lit inlets and industrial-feel stairs and décor heighten the experience and almost implore you to feed your inner narcissist. The venue is notorious for some of the wildest, biggest, most spectacular nights, a stop on the semi-ketty pilgrimage taken on by an ever-increasing number of 20-something year olds. However, both the events I have recently seen there have been semi-sober affairs: The Dreamers Ever Leave You by Robert Binet, performed in collaboration by The Royal Ballet and the National Ballet of Canada; and the event in discussion, SG Lewis.
Surprisingly I managed to end up right at the front, in the middle. In any other venue this would have been ideal and intimate but in Printworks I think the impact was lost- a better party was being had further back.
The support act, Salute, started strong with That Girl ft. Gabrielle Aplin. Some noticeable sound mixing issues slightly detracted from the otherwise impactful and exciting opener. The lighting set the mood for the rest of the show and promised big things; we were not disappointed.
When SG Lewis walked on stage nothing but his smile mattered in that moment. He could have sung out of tune, messed up the words or stood completely still and silent, I’d still be captivated. His semi-disbelief and excitement were obvious (if you had been following his Instagram story you would know how much of a big deal this was for him). It was refreshing, however, that the show didn’t become only about him as an individual artist. SG Lewis clearly wanted to showcase his sound, emphasising it with the incredible range of other artists that feature on his tracks. The surprise special guests were phenomenal, incredible additions to an £18 ticket and a great endorsement of his talents. J Warner, Col3trane, Aluna George and Bruno Major all gave fantastic and diverse performances. From the lively, aggressive Smart Aleck Kill ft. Col3trane, to the expressive Hurting ft. Aluna George.
The lighting drew inspiration from his bright, graphic album covers: the oranges, pinks and blues supporting his three-part album, Dusk, Dark, Dawn. The upturned spotlights pulsed with the heavy bass, the wash colours saturating the stage in mood and the aggressive white lights firing down their call to dance.
SG Lewis’ intermittent drum beats, keys and guitar riffs sparked off the audience, an over-excited grooving mass. His angelic vocal layers added a rich mid-layer, a constant/through-line in his songs. One song that exalted his knowledge of what captures an audience was a preview song off his upcoming Dawn album- the final episode of his three-part release. The hollow, emotional lyrics were strengthened by the chamber pop-esc auto-tune, shifted harmoniser mic effect. This held the audience still, focused in on him- the only song rendering him alone, a single performer among the lights. And yes, I was still mesmerised.
