2026/06/24 – Royel Otis – o2 Academy, Birmingham
Review & Photos: G. Rossington.
Royel Otis have a refreshing lack of polish about them—and that’s entirely by design. The duo don’t rely on choreographed theatrics or larger-than-life personas. Instead, lead guitarist Royel Maddell burst into view by springing off a speaker, with frontman Otis Pavlovic jogging out moments later looking like he’d accidentally wandered into the greatest day of his life. Their chemistry is effortless, giving the impression of two lifelong mates having the time of their lives rather than musicians carefully executing a rehearsed show. That authenticity is infectious, and the audience bought into it immediately.
Opening with ‘I Hate This Tune’, they wasted no time setting the mood. It’s a breakup song wrapped in jangly, ’90s-inspired indie and post-punk guitars, where introspective lyrics are balanced by melodies that refuse to wallow. It’s a perfect introduction to what Royel Otis do best—writing emotionally honest songs that never lose sight of the fun.
Before they even took to the stage, support act Crystal Tides had done an excellent job of warming up the room. Their bright, hook-filled indie rock proved the ideal companion to the evening, earning a warm reception and leaving the audience primed for the main event. Royel Otis then arrived with the quiet confidence of a band far beyond their years. Despite having just two studio albums and seven years together, they looked completely at ease as headliners, carrying themselves with the relaxed assurance of artists who’ve been playing venues of this size for decades.
One particularly nice touch came from the messages displayed across the screens behind the band. Rather than generic tour visuals, the personalised text gave Birmingham’s audience something unique, making the evening feel like a one-off occasion instead of another stop on a lengthy run of dates.
The setlist effortlessly weaved through songs exploring love, heartbreak and emotional uncertainty without ever becoming weighed down by them. ‘Adored’ and ‘Heading For The Door’ from Pratts & Pain blended seamlessly alongside ‘who’s your boyfriend’ and ‘car’ from hickey, highlighting the band’s ability to marry irresistible indie-pop hooks with quietly devastating lyrical moments.
Midway through the evening, Otis paused to ask, “We all feeling good?” before smiling and adding, “That’s a bond.” Judging by the reaction, he wasn’t exaggerating. The crowd—predominantly twenty-somethings—were completely invested, with plenty embracing not only the music but the unmistakable Royel Otis aesthetic. For a relatively young Australian band, it’s remarkable how quickly they’ve cultivated such a recognisable identity.
The pacing remained spot on throughout. ‘Kool Aid’ and ‘Foam’ injected a scruffier, tongue-in-cheek energy before the set eased into a gentler, more reflective stretch. Songs dealing with distance, loneliness and strained relationships floated through the room without draining its atmosphere, instead offering moments of genuine intimacy amongst the louder, more celebratory numbers.
Closing that sequence with ‘jazz burger’, the final track from hickey, felt particularly inspired. It’s a song that perfectly encapsulates Royel Otis’ appeal—simultaneously playful and melancholic, capable of sounding like an inside joke one minute and an aching breakup song the next. Few bands balance those emotional contrasts quite so naturally.
Watching from the balcony for part of the show offered one of those reminders of why live music remains so special. Thousands of voices echoed every lyric back at the stage, not because they were prompted to, but because everyone genuinely wanted to be part of it. The sense of togetherness felt completely organic.
The closing stretch barely allowed the momentum to dip. ‘Motels’, ‘I Wanna Dance With You’ and ‘Bull Breed’ became full-blown singalongs, combining nostalgia, romance and carefree summer energy in equal measure. Later, ‘Fried Rice’ and ‘Sofa King’ leaned further into the band’s playful side, driven by huge guitar hooks and vibrant backing tracks, before they delivered an entertaining take on Sophie Ellis-Bextor’s ‘Murder on the Dancefloor’. By the time ‘say something’ arrived, it felt like the perfect launchpad into the encore.
Walking away, what lingered wasn’t the heartbreak woven through the lyrics, but the joy with which Royel Otis present it. They have a rare gift for turning life’s messier moments into songs that feel tailor-made for sun-soaked evenings spent with friends. With only a handful of headline dates remaining on this tour, it feels as though the band are standing on the edge of something much bigger. They’ve spoken about wanting to ease off after an intense period of touring, and they’ve certainly earned the rest. But whenever they return, they’ll likely find audiences that are even larger, louder and more devoted than the ones already singing every word back to them.
