Dom Harrison, better known as Yungblud, moved to London at just 16 and, much like Amy Winehouse, fell in love with Camden’s raw, electric energy. His genius lies not just in his genre-blurring approach—fusing rock, punk, power pop, and hip-hop—but in his fearless openness when tackling social issues, from mental health to consent.
Expressionism has always been his cornerstone. Despite being immersed in rock music from an early age—his father ran a musical instrument shop, and his grandfather played alongside T-Rex—Yungblud sees himself first and foremost as a communicator. This ethos drove him to launch Bludfest, his own festival, which returns this year at the massive 65,000-capacity National Bowl in Milton Keynes.
For Yungblud, talent is only two percent of the equation—the remaining ninety-eight percent is relentless hard work and reinvention. This philosophy underpins his upcoming fourth album, Idols, which embraces the grandeur of a rock opera. The intimate setting of Scala, a 1,145-capacity venue, provided the perfect stage for him to unveil several Idols tracks. Despite their newness, these songs were met with the same rapturous energy as classics like Lowlife and Hated. The most impactful moment of the night came when Yungblud, backed by a full nine-piece band including a four-piece string section, delivered the sprawling, nine-minute epic Hello Heaven, Hello—a track that felt destined for bigger arenas.
With the gig being free, it inevitably attracted die-hard fans, many of whom usually only get to see Yungblud in much larger venues. Was this a night of indulgence for his most dedicated followers, or a strategic preview of what’s to come? Years ago, Yungblud realised that a great song is one that fuels his fire and makes him jump around. That philosophy, drawing from punk to hip-hop, was in full effect here. Given how little of the new material had been heard before—including Hello Heaven, Hello, which had only dropped days earlier—one might have expected a more reserved response. Instead, Yungblud captivated the crowd, proving once again that his music’s power lies in its ability to electrify.
Beyond the music, Yungblud has always championed unfiltered self-expression. Whether through his Twisted Tales of the Ritalin Club graphic novels or inviting fans onstage for deeply personal moments, he has created a space where those on society’s fringes feel seen. This Scala show was no different. A potent mix of theatrical performance, raw emotion, and reinvention, it reinforced Yungblud’s unwavering commitment to his craft—and his fans.
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