The Liverpool Olympia may not seem like much from the outside, but stepping inside reveals a rustic theatre steeped in history and creativity. On this particular night, the venue played host to a momentous occasion: You Me At Six’s Farewell Tour. Marking the final time the band would perform together, the night carried a deep sense of nostalgia and celebration. With support from Daytime TV and Mallory Knox, it was set to be an unforgettable experience.
Daytime TV, a British alternative rock band, had the opportunity to open for You Me At Six. They began their set with a choir-like, religious-sounding introduction that built anticipation before launching into their first song, Zombie. This track showcased thunderous, electric-sounding guitars and soaring vocals from vocalist Will Irvine. The contrast between the powerful instrumentals and the song’s lyrical themes of detachment and toxic relationships, where one feels used and emotionally drained, added depth to their performance.
This show marked Daytime TV’s first time performing in Liverpool, and they expressed their excitement about the occasion. Block Out The Noise followed, a drum-led track driven by Gareth Thompson’s commanding rhythm. The song featured layered guitar tones and a pulsating beat, making it a defiant anthem. With its catchy, anthemic chorus and evocative lyrics, it resonated as a bold statement against external chaos and distractions.
The next song, Little Victories, was counted in by Thompson and featured upbeat drumming, a synchronized drum and guitar solo, and flashing lights timed perfectly with the music. While the track had an energetic and joyful tone, its lyrics painted a more complex picture, depicting a relationship’s emotional highs and lows that, in hindsight, lacked the depth it once seemed to have.
Irvine attempted to connect with the Liverpool crowd during the performance, stating, “We don’t have any friends in Liverpool, and we want to make 2,000 tonight.” His words helped foster a sense of camaraderie and engagement. The energy carried into So Sick, a track where the audience clapped along with the cymbals tapping in time.
The stage was bathed in red lighting as the song’s tempo picked up, shifting into an attitude-driven and angsty track. Irvine encouraged the crowd to bounce on the beat, amplifying the song’s rebellious and frustrated tone. With a biting chorus and a punchy rhythm, the lyrics captured themes of frustration, empowerment, and breaking free from toxic cycles, particularly in the lines, “This is my time, this is my coming of age/ Over and out, so sick of waiting for ya”.
Daytime TV closed their set with Lost In Tokyo, a groove-infused track that blended cinematic, synth-like instrumentals with an ’80s-inspired, futuristic soundscape. The song hinted at themes of adventure and escapism, making for an atmospheric and memorable finale. Their music carried influences from White Lies, Royal Blood, and Nothing But Thieves, creating a dynamic and engaging sound. Overall, the set was impressive and would definitely be worth seeing again.
Next up was Mallory Knox, the alternative rock and pop-punk band from Cambridge, making a triumphant return to Liverpool. From the first strum of the guitar, the crowd was immediately singing along and headbanging as one. The band expressed their excitement to be back, with vocalist Mikey Chapman calling out, “Liverpool, it’s good to be back!” before diving into a set filled with anthems that the audience eagerly participated in.
They opened their setlist with Ghost in the Mirror, an emotionally charged and hard-hitting song that set the tone for the night. The track explored self-reflection and inner struggle themes, resonating with the audience as they sang along, headbanging to the heavy guitar riffs. The energy was palpable as the band interacted with the crowd, with members waving their arms in the air, encouraging everyone to get involved. The shifting blue and white lighting cast an ethereal glow over the crowd, matching the song’s emotional depth and adding to the intensity of the performance.
The band’s connection with the crowd was undeniable, and they were quick to keep the momentum going, getting the audience to clap along and immerse themselves in the music. It was clear that Liverpool was happy to have them back, with fans showing their appreciation and enthusiasm. Mallory Knox acknowledged that it had been 10 years since they had done a support tour, but the passion and energy from the crowd proved they were more than ready to take the stage once again.
As the set progressed, the mood shifted with the track Sugar, which brought a pop-rock vibe with its bass-heavy sound, infusing the performance with a catchy, energetic punch. The song’s darker undertones captured themes of longing, emotional turmoil, and addiction, keeping the crowd engaged with its infectious melodies. In contrast, Getaway was more melodic, with its driving rhythm and a sense of urgency that urged listeners to break free. The crowd connected with the track on a deeper level, singing along and creating a heartfelt moment during the performance.
Mallory Knox shared personal anecdotes throughout the set, mentioning Myspace and reminiscing about the past. They also discussed their time supporting You Me At Six, reflecting on the good old days. Before ending the performance, they dedicated Better Off Without You to You Me At Six and closed with their hit song Lighthouse. The entire room sang along to the chorus, where phone lights illuminated the venue as a collective reminder of the band’s impact over the years.
With the stage set for You Me At Six, a British rock band, anticipation hung in the air, blending excitement with a bittersweet undercurrent, knowing this would be their final tour. As Thnks fr th Mmrs by Fall Out Boy echoed through the venue, the crowd was taken on a journey of nostalgia, priming the audience for what was to come. The mood shifted as Oasis’s Don’t Look Back in Anger played, setting a reflective tone before the band took the stage.
When British rock band You Me At Six finally hit the stage, they opened with Room To Breathe, which immediately set the tone with its soaring vocals and anthemic chorus. Bathed in blue lighting, the song captured the band’s ability to balance intensity with introspection. The track’s lush guitar riff and driving rhythm encapsulated their early sound. Still, the band’s evolution was apparent as the song progressed, blending elements of modern rock and alternative influences.
The energy surged as the band performed Loverboy. As vocalist Josh Franceschi’s charismatic stage presence was a focal point, with the track’s catchy, rhythmic guitar lines were paired with Franceschi’s infectious delivery, and the crowd responded with a wave of enthusiasm. The bouncy tempo felt like a celebration of youth and rebellion, encapsulating a theme of reckless abandon and longing for freedom. Stay With Me was another standout track that highlighted the band’s emotional range.
Franceschi even tells the audience, “You could always sing it better than me”. The mellow verses built up, leading to a powerful, swelling chorus. The instrumental layers here were rich and emotional, contrasting the more upbeat moments. The song’s themes of desire, vulnerability, and the complexities of relationships hit home as the audience swayed in unison. Night People, which was accompanied by an explosion of blue, purple, green, and pink lighting, underscoring the song’s vibrant, rebellious tone. The track’s edgy, electro-rock influence was evident in the stuttering synths and punchy bass, which elevated the song’s anthemic qualities.
Throughout the night, You Me At Six’s performance felt like a profoundly heartfelt love letter to their fans, a reflection of the 20-year journey they had shared together. With every song, the band didn’t just perform. They connected with the crowd in a way that was both intimate and powerful. Franceschi acknowledged the mixed emotions in the room. He spoke candidly about the band’s journey and how, despite spending two decades chasing validation and recognition, the love and support from their fans had always been enough.
The encore was explosive, opening with Bite My Tongue, which saw the crowd jumping and shouting in sync with the pounding drums and aggressive guitar. The track’s raw intensity was contrasted by the swaying energy of Reckless. This song still carried the edginess of their earlier work but was elevated with polished, melodic elements. The final track, Underdog, was a fitting anthem to close the night. Its energetic, sing-along chorus and message of resilience and overcoming adversity left the crowd roaring as they joined in, fuelling a sense of collective joy.
As Franceschi thanked the audience for their unwavering support, the final notes of the show felt like a mutual acknowledgement of the connection they had forged over the years. You Me At Six had given everything on stage. In return, the crowd gave back with deafening cheers, making it clear that the bond between the band and their fans was truly unbreakable. But as those final notes rang out, it became evident that this show was more than just a farewell. It celebrated everything You Me At Six had built over two decades.
For many in attendance, this was more than just a concert. It was a trip down memory lane, a reminder of school days spent blasting their music, and a testament to how much the band has meant to them over the years. This was an unforgettable night, an emotional, high-energy, and deeply nostalgic send-off for a band that has left an undeniable mark on the alternative rock scene. Bittersweet as it was, it felt like the perfect way to say goodbye.
Zena Morris
