In the heart of East London’s Brick Lane, where music history lingers in every corner, Rough Trade East transformed into an intimate, neon-lit sanctuary for one of Britain’s most consistently shape-shifting bands. The Horrors took to the stage for the first of two in-store performances, celebrating the release of their latest sonic reinvention, Night Life. In a venue that has previously hosted legends like The Smiths, Radiohead, and David Bowie, tonight felt like another moment of history in the making.
The Horrors
Rough Trade East, Brick Lane, London – 21 March 2025
Words And Photography: Ash Nash
Nearly two decades since Strange House introduced them as a gothic, garage-punk whirlwind, The Horrors have refused to stagnate. From the shoegaze haze of Primary Colours to the widescreen grandeur of Skying, their journey has been one of fearless reinvention.
But even as they dive into colder, more industrial landscapes with Night Life, there remains a flickering shadow of their debut an ever-present gothic heart beating beneath the pulsing synths and dark electronica.
This new era sees the band reimagined around the core duo of vocalist Faris Badwan and bassist Rhys Webb, now joined by Amelia Kidd on keys and Telegram’s Jordan Cook [not present for tonight’s performance]. It is the first Horrors album without all five original members, yet rather than feeling like a loss, it crackles with the excitement of reinvention.
Night Life was born in the basement of Webb’s North London flat, where the duo thrived on immediacy, which Faris describes as “shortening the distance between having an idea and expressing it.” The record truly took shape in LA under the expert hand of producer Yves Rothman (Yves Tumor, Blondshell), before final touches were made back in London, with guitarist Josh Hayward adding his signature textures and Kidd sending parts remotely from Glasgow.
This is an album forged between cities, an alchemy of late-night creativity, industrial rhythms, and a relentless pursuit of new sonic terrain.
For this special in-store set, The Horrors pared down to a three-piece, creating an even more atmospheric and immersive performance. Without the full weight of their usual live setup, the space between the notes felt vast, the music breathing with an eerie intimacy.
Performing like ghostly apparitions, every beat, every flicker of synth, every shadowy vocal filled the room, drawing the audience deeper into Night Life’s nocturnal world. The minimalist setup amplified the haunting nature of their new material, proving that even in a reduced form, The Horrors still hold complete command over their sound.
Opening with the pulsating, cinematic Mirror’s Edge, the band wasted no time in setting the tone for the night. The hypnotic Silence That Remains followed, its sleek, industrial minimalism carrying echoes of Nine Inch Nails at their most brooding.
But it was not all about their latest material. Midway through the set, they dipped into the past with Who Can Say, its infectious stomp still as powerful as ever, before drifting into the dreamlike melancholy of More Than Life.
As the set progressed, the energy swelled. Still Life shimmered with its anthemic grandeur, proving just how timeless Skying remains, while Sea Within A Sea built its layers of hypnotic repetition to a euphoric climax. But the true standout moment came with the closing track: the live debut of Lotus Eater.
A sprawling, seven-minute odyssey into Kosmische techno and industrial noise, it was a reminder that The Horrors are still pushing boundaries, still unafraid to experiment, and still in complete command of their evolution.
As the lights went up, breaking the immersive spell, Faris cracked a joke: “Why would you think I’d like that?” a moment of dry humour to contrast the intensity of the set.
The Horrors have never been ones to play it safe, and the high-profile creatives who have championed them over the years prove just how vital they remain. From being name-dropped on The Mighty Boosh to Nine Inch Nails sharing their music video on their own YouTube channel, this is a band that continues to attract and inspire the best.
Tonight, in a venue that has helped shape the UK’s alternative music culture, The Horrors reminded us why they are one of the most consistently innovative bands of the last two decades.
They have moved beyond the haunted house theatrics of Strange House, beyond the shoegaze shimmer of Primary Colours, beyond the grandeur of Skying, and into something sharper, colder, yet no less exhilarating.
As they packed up, preparing for their second show of the day, one thing was clear: even as a three-piece, The Horrors remain one of the coolest, most forward-thinking bands in British music.
The gothic heart still beats, but the machine has evolved, and we are all lucky to be along for the ride.
