Bradley Simpson is in town and it’s another Dork’s Night Out for the history books

Queues stream around the block. There’s talk of Colours Hoxton never being this busy so early. Fans ready to flock to the front from the moment the venue doors open. Bradley Simpson is in town and it’s another Dork’s Night Out for the history books. Serving up special moments that could never be repeated, just days before the release of debut album ‘The Panic Years’ – tonight finds Bradley Simpson welcoming his most personal chapter to date with uncompromising fun.

With Colours Hoxton packed to the back, LALA HAYDEN opens with dazzling pop flourish. ‘Honeymoon Suite’ stands as her opening statement, a latest single that signals the larger-than-life world of pop at her command. Bass claps for ‘Slice’ and ‘Rush Of Love’ hit with unstoppable force, and that club-sized energy comes through tonight at Colours. Screams rise before ‘Woman’ and with ‘Baby, You’re The Best’, LALA HAYDEN marks herself as a pop star embracing the freedom of celebrating something greater.

Esme Emerson transform Colours Hoxton into the greatest pop campfire when they take the stage. With two guitars and their voices alone they transfix the room into a world of heart-warming bliss that makes its loudest statement through raw emotion. The swooning ‘Together’ and fizzing ‘Yard’ blend perfectly – forming a sound that can’t be dissected, only experienced. Airing new tracks and thriving before a crowd who fall for them at each step, tonight hints at what’s to come. Pure songwriting brilliance even when stripped to guitars and voices, if this is an appetiser then the main course has us salivating.

Screams erupt when Bradley Simpson takes the stage. Leading his band through the swagger-soaked ‘Getting Clear’ like an opening curtain call, Colours Hoxton reaches delirium instantly. “I hope you dance and get as sweaty as possible” grins Bradley, and his anthems deliver. With ‘The Panic Years’, Bradley has crafted a personal diary that explores sonic worlds previously untouched – displayed in full tonight. At home in the revelry, he turns this sweaty venue into widescreen cinema. The chopping indie-licks of ‘Daisys’ spark hands-in-the-air euphoria and singalongs that drown out Bradley, while the spinning rock-pop warmth of ‘Carpet Burn’ takes on new life. His hunger stands tall throughout, infectious, pulling everyone into his journey. That devotion peaks with ‘Holy Grail’, a universal declaration of love that has lights raised and even inspires a proposal in the crowd. Indeed, it’s a night nobody will forget.

What’s clear is that while you may think you know Bradley Simpson, stepping into that solo frame centre stage has given him something more urgent. Tapping into heavier influences, the power of the rock show resonates throughout. ‘Cry At The Moon’ delivers a scorching hit of Queens Of The Stone Age-esque intensity and ‘Always Like This’ lights a fuse through Colours Hoxton, sending bodies flying with each crunching breakdown.

Embracing this moment just hours before ‘The Panic Years’ lands, a cover of ‘HOT TO GO’ cements tonight’s party atmosphere as crowds spill into the corridor for a glimpse. In the playful ‘Favourite Band’, he weaves cheeky charm and heartbreak into one potent cocktail. With a cover of Fleetwood Mac’s ‘Dreams’ (noting it might be his final performance of it) and an impromptu crowd-led singalong to Oasis’ ‘Wonderwall’ (“… and that’ll be on the album out on Friday!”), ‘Picasso’ may conclude an unforgettable night but merely punctuates where Bradley Simpson goes next.

“I’m going to have a long shower after this because I’ve never been this sweaty in my life” he laughs. Stepping to the front with a voice that feels familiar yet fresh, Bradley Simpson is the natural-born showman ready to grab life after ‘The Panic Years’ with both hands. Now that’s something you’re going to remember for a long time.