No Stage Left Unburned: Osees at EartH Hall in London
Written and Captured By | Bella Keery
At this stage in their career, Osees have nothing left to prove. Their reputation as one of the most electrifying live acts is well established, and their consistently high-energy performances speak for themselves. Yet, despite having solidified their place in the rock and psych scene, they continue to pour everything into each show as if they’re still out to win over the room. Their recent performance at EartH Hall in Hackney was a prime example. It was a seemingly ordinary Tuesday night, but inside the venue, the atmosphere was anything but quiet. The room was absolutely packed, dripping with sweat, and buzzing with anticipation. As soon as the band took the stage, the energy ignited like a live wire.
Osees didn’t announce the beginning of their set in any formal way. They blurred the lines between final soundcheck tweaks and the actual start of the show. Then, suddenly, the music began in earnest. Opening with the raw and riotous “I Come From the Mountain,” the band set an immediate precedent: this would not be a night for the faint-hearted. The volume was punishing, the pace relentless, and the performance tight to the point of being surgical. John Dwyer, the ever-charismatic and unpredictable frontman, seemed possessed by his music. At times, he looked as if he was attacking his guitar or devouring the microphone, his whole body a conduit of chaotic energy. Every movement felt both erratic and precise—a masterclass in controlled madness.
Supporting Dwyer at the core of the band’s rhythm engine were drummers Dan Rincon and Paul Quattrone. Their synchronicity was jaw-dropping, as if they shared one mind split between two drum kits. With perfectly locked motorik beats, ferocious fills, and subtle flourishes, the two drummers created a dynamic backbone that elevated the entire set. It wasn’t just about keeping time—it was about pushing the songs forward, adding texture, tension, and release. Watching them play was hypnotic; you couldn’t decide whether to dance or just stand there in awe.
As the set progressed, the band refused to let the intensity dip for even a moment. Songs flowed into one another seamlessly, creating a relentless momentum that swept the audience up like a tidal wave. “Encrypted Bounce” and “Sticky Hulks” stood out as particularly ferocious highlights, while the newer material from SORCS 80 introduced a different flavor to the mix—colder, more mechanical, yet still undeniably Osees. These new tracks pulsed with an industrial edge, showing that the band is still evolving and unafraid to experiment.
The crowd, in turn, gave back everything they had. There was no standing still. People were moshing, jumping, yelling lyrics into the air, and completely surrendering themselves to the experience. Beers were flung skyward, sweat flew from every direction, and by the time “Toe Cutter – Thumb Buster” detonated through the speakers, the front half of the venue felt airborne. It was ecstatic chaos, punctuated by grins, wide eyes, and a communal sense that something special was happening.
Near the end, the band tore into a wild, jammy piece that may or may not have been a cover of Pink Floyd’s “Interstellar Overdrive”—but at that point, it hardly mattered. The lines between band and audience, song and noise, were thoroughly obliterated. Everyone was lost in the sound, part of a collective moment of catharsis. Whether it was the crowd or the musicians who were more overwhelmed is hard to say, but both sides seemed equally swept away.
Osees don’t deliver a polished or carefully choreographed performance. What they offer is raw, visceral, and completely unfiltered. There’s a sense of danger and unpredictability that makes every show feel unique. Last night wasn’t just a gig—it was a full-body experience, a communal purge, and for many, a kind of sonic baptism. In a world where live music can often feel routine or safe, Osees remain a wild, electrifying outlier—and they’re all the better for it.
