SWMRS kept us in constant motion at the Electric Ballroom

18 March 2019, 11:10 | Written by Sophia Simon-Bashall

(News)

There is a buzz around SWMRS that is unusual for a band of their profile, but not at all unwarranted. The five-piece have fans lining up around the corner for hours before their sold-out show at Camden’s Electric Ballroom, and the excitement in the air is more akin to that which follows arena rock bands like All Time Low than bands who put on sweaty, chaotic punk shows.

However, the dedicated following makes complete sense – the band’s second album Berkeley’s On Fire speaks directly to a generation of young people, without condescension or presumption. The record captures the hopes, frustrations, and anxieties of SWMRS’ fanbase on a level that few bands manage to achieve. Their live show serves to further prove their uniqueness, and that they are entirely deserving of such attention.

SWMRS arrive on stage to “Steve Got Robbed” playing over the speakers – though barely audible over the crowd’s own rendition of the song. As the band soaks it all in for a moment, it’s easy to forget that this is a club show and not an arena one. Then it gets messy, in the best way possible.

As lead guitarist Max Becker leads them into “Trashbag Baby” the room turns into a giant pit, and stays that way throughout “D’You Have a Car?” Soon after, Cole lays down the ground rules. He reminds everyone that “we are a community” and explains what that means. Put simply “if someone is being creepy in the pit they need to get the fuck out”. It’s a statement reiterated at every show, and not an empty one – the band immediately stop the set when during “Miley” when it seems like things might be getting out of hand, and the frontman regularly checks in with the crowd to make sure everyone’s okay.

The energy from both the band and crowd is relentless – even slower songs such as “Ikea Date” and “Lose It” see people jumping around. There is not a single still moment until the encore, which sees the frontman bring out Liverpool's own Zuzu for a gorgeous rendition of The Beatles’ “Here, There, and Everywhere”. There are strangers on each other’s shoulders, best friends hugging, and a quiet sing-along – everyone too in awe to but their bellies into it.

SWMRS end with “Drive North”, which at that moment serves as a thank you to the fans for building such a special community. It is angsty and raucous, but it feels poignant as everyone in the room comes together over their frustrations at the world. It’s a moment in which those frustrations turn into something bigger, something special – because as 1500 people yell “I hate LA” together, what they’re really saying is “I want something better”. And that’s how change starts.