Live Review: YUNGBLUD @ Oxford Art Factory

There's something extraordinary about British upcomer Dominic Harrison. Formally known as YUNGBLUD, the 19-year-old Northerner has overwhelmed the world with appealing tunes about genuine social issues, for example, gentrification, emotional wellness and rape. With the arrival of his eponymous EP in January and his presentation collection not long ago, Harrison has gone to play with a portion of the world's greatest groups and celebrations – the ongoing Splendor In The Grass being one of them. Yet, with rave surveys behind Harrison's campaign of challenge fly, there was almost certainly that Sydney's Oxford Art Factory was not set up for what was in store.
Supporting YUNGBLUD at his shows was Wollongong artist/musician Bec Sandridge, who remained in front of an audience alone, guitar close by and an electronic drum cushion on her right side. Sandridge jogged around the phase as she opened with In The Fog, which had heads bopping all through the room. Sandridge's music grasps a 80's impact in her music with appealing snares and a diverting disposition in front of an audience as she spurted relatable jokes in the middle of tunes.
What's more, after a short time, Sandridge had Oxford Art Factory was filled to the overflow as she shut off with her single I'll Never Want A Boyfriend. It was then that punters were genuinely prepared to encounter Dominic Harrison's widely praised execution under his anxiety ridden nom de plume.
From the second he strolls on the stage, YUNGBLUD overflows a flaunted certainty as he swaggers around the stage, his tongue hanging low for the gathering of people to see. Harrison squanders no time beginning his set with swarm top choices, as of now contaminating the group with high vitality melodies like 21st Century Liability, I Love You, Will You Marry Me and his introduction single King Charles.
Between melodies is the place YUNGBLUD's humility is genuinely affecting everything. "It's the farthest I've been far from my mum and I ain't notwithstanding missing her" Harrison clarifies as him and his bandmates prep for gigantic political bangers like Psychotic Kids, Polygraph Eyes and Medication.
While most tracks played are from YUNGBLUD's beforehand discharged discography, there is likewise unreleased material at play like The Loner, which is much similar to Harrison's different melodies – snappy on first tune in yet dull and interesting at its center. The finish of The Loner sees the swarm in an acapella singalong finished off with a standard Shoey serenade. "Are shoeys antique?", Harrison inquiries before surrendering to what the group needs, drinking lager out of his blue softened cowhide creeper.
Harrison and his bandmates Adam Warrington and Michael Rennie don't appear to destroy themselves through California and Tin Pan Boy. Actually, in the wake of leaving the stage, the young men return for additional. They get sufficiently together stamina to play through Machine Gun (F**k The NRA) and collection opener Die For The Hype, the two melodies making the group go considerably more out of control than previously.
As YUNGBLUD and his companions left the stage one last time, the perspiration rounded group scattered out of the setting and back onto the boulevards of Sydney. Be that as it may, the remainders of the YUNGBLUD encounter waited on. A continually high, never missed surge of adrenaline, bedlam and shouted verses to a kid from Northern England. YUNGBLUD may have just started out of the blue year and a half prior, yet the live execution he brings is sufficient confirmation that the British teenager will be an everlasting picture of present day world legislative issues. What's more, for Dominic Harrison, his melodic profession just goes up from here.