Brighton indie-rockers Black Honey have been described as masters of escapism, but on the stage at Rescue Rooms they welcome all-comers into a cinematic world. As lead singer Izzy Phillips morphs from persona to persona, the evening becomes a rapturous, inclusive celebration...
This performance from Brighton quartet Black Honey was billed as a Rough Trade “out-store” gig to promote their fourth album Soak. There is just one problem… We're not at Rough Trade but Rescue Rooms. Now, I must confess, I hadn’t the faintest clue that these sorts of “out store” gigs take place. Rough Trade plays host to many release-day gigs for artists and bands, be it matinee or in the evening. But to take it out of Rough Trade, at first, seemed a puzzling concept; what could possibly be the reason? However, the rationale was clear to see. By expanding into Rescue Rooms, it gives acts the freedom to play an extended set without the worry of the usual 30-minute cut off that usually happens at in- store gigs, according to people I know who’ve been - thereby showcasing a wider scope of material that’s not just the new stuff.
As there is no support act, the feeling is that this would be a shorter gig than usual, but as with most Rescue Rooms headliners, the set was due to be at least an hour / 1 hour 15 minutes. It's no good having people loiter for nearly an hour until the curfew time if the set is going to be a short one. Despite the muted weather outside, inside the heat is cranked up and I begin to feel quite overdressed for the occasion. With this in mind, we head for the balcony where body heat isn’t in as copious a supply.
Cinematics have always played a part in Black Honey’s musical output and their entrance to the Nottingham crowd is no exception. Their appearance is narrated by the eerie voice of Alex De Large - the protagonist of A Clockwork Orange played by Malcolm McDowell: “This would sharpen you up and make you ready for a bit of the old ultraviolence”.
While we're not in a Korova milk bar, preeminent warnings like this were just the ticket for the odd bit of chaos. Lead singer Izzy Phillips is draped in a Union Jack dress like a paranoid movie queen. Her looks are armed with charm and charisma, but carry a slight warning that her personality may bite back if you’re not paying attention.
Her appearance is what one would think of if Sunset Boulevard's Norma Desmond was given the Britpop treatment. Her voluminous blond hair makes her the protagonist of her world, one which we are all invited to as spectators and enter at our own risk.
After checking everyone has a copy of merch in some form or another, the band plough through the first few numbers with aplomb. The temp takes another turn to the silver screen during Spinning Wheel, one of the band's breakthrough songs from 2015, The allusion to retro cinema is markedly conveyed in Izzy's tone of voice, and with the trashy surf riff underpinning this expression, it conjures up a raw gamut of emotions that is only reserved for the female protagonists of old.
Phillips is great at morphing into different personas within each song, with each one more unrevealing and captivating than the last. Her multiple personas are met with the motifs running throughout the set. Set beside her is the telephone that she uses to communicate intimately with the crowd, delivering a personal message that every person here interprets differently. The intense humming from the phone is the gateway to explore the innermost thoughts of Black Honey, a chance to indulge in Phillips’ characters for each number. This is particularly noticeable on Psycho where Phillips launches into a stream of consciousness, conjuring a movie script where there is no pause.
Regarding the new album Soak, the songs reflect themes of catharsis, almost as if they’re medicinal. Phillips herself admits that the new album is trying to provide “medicine to those who move through the world unmedicated”.
The curtain is called by closing number Corrine, another of their breakout hits from ten years ago. Those surrounding me, those with quiffed pompadours, black Western shirts embroidered with roses, and t-shirts and hoodies from unknown American burger joints, burst into song and immaculately form a swinging motion, all the while Phillips commands girls and non-binary people to come to the front while our male allies from the back are encouraged to give way. The effect from the crowd is just as rapturous and sonorous in full voice. Everyone is here having a good time.
Tonight’s show gives us an insight into the next chapter of the Black Honey Saga; time will tell when this instalment will reach its climax and usher in the next one.
Black Honey performed at Rescue Rooms on 19th August 2025.
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