Hello 2026
Silver Gore, Lover’s Skit, Pearl2 and pollyfromthedirt triumphantly round out Hello 2026
27th January 2026
The final night of our January gig series is an exhibition of innovation, inventiveness and sheer quality.
The end is nigh. The Lucky Saints have been sunk, The Traitors finale is over, and your line manager is asking you to come back into the office for at least three days a week. With January in its death throes, we say a solemn farewell to DIY’s Hello series for another year. Might as well make it a proper send off, right?
And thus we shall: first up tonight, Darlington’s pollyfromthedirt ascends to the stage, their face encased in what can only be described as a half-cat, half-Venetian mask. Beneath that mask, though, is a master of their craft. Yipping, intensely delayed vocals hook over one another as snappy pianos, detuned guitars and hip-hop style grooves undulate beneath in a psychedelic and deeply odd soup of folktronica. Atop a technicolour canvas of ornate, Beach Boys-esque melodies and stiff bass weaponry, pollyfromthedirt sounds like if Panda Bear was from the North East, and had been given a production masterclass in UK bass by James Blake. In a nutshell: an incredibly exciting, individual talent.
Quickly following on is one of the more hyped acts of the evening, Pearl2 - an outfit who, live, are akin to transmutation in sonic form. Metallic grooves and clangy samples encompass contorted trip-hop beats, while dubby bass guitar sits firmly in your sternum - tighter and more engulfing than any live bass has ever sounded. Lola Stephen’s spectral vocal is ghostly and whispered, dancing over beats that morph from the churning roll of Massive Attack to the space of Air, via the minimal techno of Kelly Lee Owens. Across the audience, all to be seen are nodding heads, swaying bodies, and lights shimmering off closed eyelids.
After coming down from such a high, the only course of action is to go back skywards with Lover’s Skit. Early technical wobbles breathe a slight awkwardness into the set, but this is child’s play for the Stockholm trio, who barrel into a day-glo assault of electro-clash and bloghouse inflected tones. At points veering towards donk or bassline elements, the electronics are dense and at touching distance - something vocalist Nathalia Aránguiz pairs with her tongue-in-cheek lyrics and boundless frenetic energy. By the end of their brisk and bolshy set, the crowd are staunchly on side (and notably wetter, thanks to the array of jostled pints).
To close, the OBL is treated to some of the finest songwriters in the country: Silver Gore. Once the duo launch into their set, the room is wholly rapt. In combining timeless pop writing with warped avant-garde sonics, Silver Gore present what can only be described as meta-modern sounds in an indie-pop wrapper. Technical, near whistle-register vocals and chiming acoustic guitars are met with cathartic blasts of electronic squawks and squeals, all somehow balancing calmly above songcraft that wouldn’t feel out of place were it recorded at any point in the past 70 years.
Approaching the mic after a soaring rendition of ‘A Scar’s Length’, Ava Gore admits her voice might not be at its best, courtesy of a cold/birthday celebrations combo. But, as she launches into the anthemic ‘All the Good Men’, she scans the room and reassures us: “it’s okay to have a good time.” We couldn't have said it better ourselves.
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