Getting ‘In The Rhythm’ with The Irrepressibles

THE IRREPRESSIBLES + ASHER FYNN – THE OLD MARKET, HOVE 15.10.24

The Old Market, just over the Brighton border into Hove, has hosted world-class music since it reopened in 2011. Musicians who have played at the venue include Fatboy Slim, Sam Smith, Anna Calvi, Paul Weller, Kano, Frank Carter & The Rattlesnakes, Sleaford Mods, and Morcheeba. The venue is also known as a home for comedy, theatre, and music festivals.

The Irrepressibles is a Manchester-based creative project by British musician Jamie McDermott. They were London-based for many years. Formed in 2022, the band have released three full studio albums and six EPs. Singer-songwriter McDermott says the project’s name is “about breaking boundaries in music and being honest about being gay in music.” In 2013, McDermott collaborated with Röyksopp. He changed his name from “Jamie McDermott” to “Jamie Irrepressible.” 

The set on the ‘Yo Homo!’ tour focuses on the 2024 album, with a few older tracks thrown in for good measure. The album’s theme’s are exploratory. The lyrics discuss love, attraction, and desire in gay relationships. After a brief tune-up, the eight-member touring band took the stage, fronted by Jamie. They went straight into their first track. The band did not pause for breath until the notes played out on the third track. Allowing the music to breathe and speak for itself. The opening to the whole set segued between tracks. It introduced material from 2024’s ‘Yo Homo’ album. This gave the audience a taste of what to expect for the rest of the night. 

Jamie Irrepressible’s voice is a baritone croon. It fluctuates in pitch and volume. The second and third songs, ‘WILL YOU?’ and ‘SO!’, both from the new album, ‘Yo Homo!’ showcased his vocal and songwriting skills. They paused only to apologise for the guitar being out of tune on the third of the opening songs. They need not have worried. They had won the audience as soon as they hit the stage. The audience was more than forthcoming with their appreciation throughout the night. 

After a break to thank them for their applause, Jamie urged the audience to let themselves go. “So. You might guess this isn’t so much of a concept as a chance to do crazy, crazy dances. So, this is definitely a chance to wig out.” Pausing to consider the content of the song, he then said, “This is a…this is just filth, really.” The band get carried away in this one, but you can get carried away as well.” So, this is, this is for all the fabulous fans, it’s called ‘F*cking Beautiful,’ and every second of it was precisely that. 

After the outro, Jamie asked the audience, “See what I mean?” It was a callback to an earlier point: the song was an excuse to let go and dance. They responded with enthusiasm. After the song, there was a brief chat. It was about the audience’s age and if they were old enough for the song’s content. It was a bit too late for that. So frenzied was the playing that Jamie exclaimed, “I’ve even cut myself. S’alright it don’t hurt much, just a little one.” After this track, the band sped through three more from ‘Yo Homo!’. ‘THE DESERT’ is an instrumental with meandering strings and a gentle, low bass line. It lulled the audience into a gentle sway. ‘CONNECTION‘ starts with a long intro. It has a lone vocal, a gentle tap of drumsticks, and Jamie’s sparse guitar strum. Then, the other instruments kicked in one by one. This built the song’s power for the chorus.

Before starting the next track, Jamie asked, “Who’s a country and western fan?” ‘TWO HEARTS’. It has a gentle country & western beat underscoring it, hence the question. Here, Jamie paused. Then, he introduced the next track. “This is a song about the innocence of that attraction. Um, this is a song called, ‘Pale Sweet Healing.’ It’s from ‘Nude.’” The low, slow, moody track was like ‘Cigarettes After Sex’ if sung by Anohni of Anohni and the Johnsons. The latter half of the track rises into euphoric exuberance. After the applause, Jamie thanked the audience. “Bloody gorgeous, aren’t they? Bloody gorgeous. And so, um, so I want to introduce you to the band. We’re gonna do a different order today. Starting with the person that lives here.” Brighton resident Joe Davin was the first band member introduced. 

“First, Joe on the bass” The audience applauded as Jamie introduced each band member. But, they went further with this first introduction. They shouted, “Go on, Joe!” Jamie then continued with the rest of the current touring band, “On violin, Phoenix.” On viola, Paula. Mix it up, on guitar, Sally, on the drums, Thomas, on the cello, Rehan. And she’s been with me a very, very, very, very, very long time.” (laughter from the audience and the band). “Sarah Kershaw is on piano; she’s amazing.” 

Introductions finished, and Jamie turned to the audience. “How are you doing? Brighton, are you alright?” Jamie motioned to the audience in front of the stage. “I loved the little dancing to ‘Two Hearts.’ It was beautiful to watch.” Then, to the rest of the audience, she said, “By the way… we want more dancing! We want more dance!” Another band member reiterated, “We heard the Brighton is really, really good.” This drew laughter. Then, he asked, “But, can you be a bit WILD?!” It was a snaky reference to the next track of the same name. It failed to register with Jamie, who asked, “What’s next? I’m getting a bit old for remembering stuff.” He then asked the tech crew, “Can you turn my guitar down a little bit on my headphones? Is that alright? Can you turn the click up a bit more, as well?” clarifying, “Not you audience, I mean the sound guy.”

“Um, so, this is, so, this is an instrumental. So, it’s for dancing. This is the prerequisite for dancing. So, dancing, dancing! Anyway. This is called ‘Be Wild’”. And as the band accurately said, it was a track that compelled you to dance or sway with lively energy. Before the next song, Jamie told the audience a story behind it. “So, when I was a young gay boy, um… I went to a gay club for the first time when I was 18, and it was Central Station in London. And uh, we were upstairs, and then we went downstairs. We were, like, OH! “Okay, now we go back upstairs now…” This got knowing laughs from the audience and a smile from Jamie. Then, he continued, “And, uh, I sat at the bar. I was very, very, very broad Yorkshire at the time.” And, um, I said to the guy behind the bar (who was gorgeous), I said, “You’re gorgeous you are”. And he came around and he sat on my lap, and he gave me his number. I never rang it, but I wrote this song about it, and this is called ‘Raise My Soul’. 

“So, thank you so much. Thank you very much. This is definitely one for dancing. Did everyone see the video for this? it was ‘In The Rhythm’, this is…next ones, called ‘In The Rhythm’ We had a couple, a gay, a gay skateboard couple did, um, a load of video for it.” Like all The Irrepressibles videos, the video is worth a look on your preferred streaming service. They are a masterclass in representation. Using skaters suits the track, especially when the tempo gears up on the chorus.

As with the earlier tracks, the audience applauds and cheers. Acknowledging their sustained enthusiasm, Jamie told the audience, “Brighton, we love you!” This resulted in more applause.  Ringing out and calling for “MORE!” as the band took their leave of the stage before returning for the encore. Retaking the stage, Jamie thanked the audience exclaiming, “You guys are wicked.” Another band member adding “I think Brighton’s taken it to the next level.” With Jamie agreeing, “Oh, definitely.” The same band member suggested, “I think they’ve even beaten the Birmingham.” Jamie agreed, “I know, right?” Then, “It’s cause Joe lives here.” She wanted the audience to cheer for Joe. “The Joe fan club.”

“So, we’ll do you another song. So, this next song is about gay, you know, male, gay dating. So, um, yeah, you know, the trials and tribulations. It’s called “Destination.” It’s my favourite track on the album. I’ve had the whole album on play ever since. Jamie’s voice softened and yearned. The video for this track brilliantly expresses the pull and yearning for attraction and joy of connection. For the last track, the band finished on ‘Ecstasy Homosexuality.’ Jamie urged the audience into “Wild dancing! Come on!” midway through the track (as if they needed any more encouragement). The track’s start was heavier than those before. It had some vocal effects, and the strings added depth to the wistful vocals. Having played the whole of ‘Yo Homo!’ with only two tracks from ‘Nude’, The Irrepressibles took their final leave of the stage to rapturous applause.

The Irrepressibles: 
Jamie Irrepressible – lead vocal + electric guitar 
Joe Davin – electric bass + backing vocals 
Phoenix Rousiamanis – violin 
Paula Bowes – viola, backing vocals 
Sally McFarren aka ‘Alabasterqueen’ – electric guitar 
Thomas Willy – drums 
Rehan Murtadha – cello 
Sarah Kershaw – piano + percussion + backing vocals 

The Irrepressibles setlist: 
‘In The Rhythm’ (from 2024 ‘Yo Homo’ album)
‘Will You?’ (from 2024 ‘Yo Homo’ album)
‘So!’ (from 2024 ‘Yo Homo’ album)
‘F*cking Beautiful’ (from 2014 ‘Nude: Viscera’ EP)
‘The Desert’ (from 2024 ‘Yo Homo’ album)
‘Connection’ (from 2024 ‘Yo Homo’ album)
‘Two Hearts’ (from 2024 ‘Yo Homo’ album)
‘Pale Sweet Healing’ (from 2012 ‘Nude’ album) 
‘Be Wild!’ (from 2024 ‘Yo Homo’ album)
‘Raise My Soul’ (from 2024 ‘Yo Homo’ album)
‘Yo Homo!’ (from 2024 ‘Yo Homo’ album)
(encore)
‘Destination’ (from 2024 ‘Yo Homo’ album) 
‘Ecstasy Homosexuality’ (from 2024 ‘Yo Homo’ album)

www.linktr.ee/theirrepressibles 

Asher Fynn, the Brighton-based performer, was our support for the night. There could not have been a better choice to complement the main act. The singer-songwriter calls themself a “dark songstress.” They have a “unique and distinct” voice. They write and perform. Asher says their vocals “soar with intimate power and softness. They respond to themes of queer intimacy and violence.” They sing about “freedom, representation, and even drastic hook-up stories… with humour, flirtation, and sad songs!” 

When Asher Fynn appeared, their stage presence was at once plain. Without hesitation, they opened with their first track. Their vocals were both atmospheric and haunting, almost operatic in delivery. Coupled with their stage presence, it was an impressive mix. They took control of the stage and the auditorium. “Hello Old Market! How are we all doing?” 

They introduced themselves and got the ball rolling. “Meow. My name’s ‘Asher Fynn’. And that track is called ‘Running’, and it is a tragedy. Pull me, get out the tragedy.” They paused, then said the now-famous Brighton performers’ non sequitur: “Meow.” Then, they told the audience about the subject of the second track. “I’ve another one for you.” This is about friendship; “hit it, Tim.” Asher urged the audience to move closer to the stage during the song, “Hello, Brighton. You can come in a little bit.”, paused before continuing, (sung) “Come closer if you like…, or don’t listen too you can do both at the time.” Asher thanked the audience for their applause, “Thank you so much. Thank you very much. Keep that talking. Music to him. Well, there we go. That’s all we like.”

“Hello, everyone. How are we doing?” Gaining plenty of applause and a few whoops, they continued, “Yay, it’s great to see you. I usually say, ‘I promise I can see you’, but actually, it’s very dark, so I can’t see you, but it’s nice to be seen by you. Oh, well, there. Hello. Nice to see you all. My name is ‘Asher Fynn,’ and thank you. “I am a music producer and singer from Brighton. Have we got Brighton people in the room?” Confirmation came in the form of cheers and applause in the affirmative. “Yeah, nice to see you! It is an absolute honour for me to be on the stage. I am so, so, so grateful for The Irrepressibles for giving me this opportunity. And shout out to Joe for the shout-out. Wherever you are, Joe, if you’re in here, I don’t know. I can’t see you. Anyway.” 

Having introduced themselves, Asher then discussed their project. It documents and represents the Trans community. “This next track is called ‘In This World’, and it’s a project I started in 2018. I started it after being on the Brighton bus, coming home from Trans Pride in 2017 with my friend. We’re on the top deck of the Brighton bus, and we pulled in a pavilion, and she looked out the window and she blew a kiss at this group of lads, and they lost their shit. Oh my God, they fucking loved it so much. It totally f**ked them up.” They paused, then continued, “And I thought, wow, what a beautiful statement of authenticity and actualisation, especially given this disgusting climate for trans people. So, I’ve been inviting Trans Plus people to send me little videos of them blowing kisses and, um, Yeah! Let’s do it. Go for it Tim.”

The footage discussed played on the screen behind Asher as they performed ‘In This World’. The project aims to give a face to the trans community. It also adds meaning to the track, which is the soundtrack to the footage. At the song’s end, Asher thanked the audience and invited them to be part of the project. “If you are a Trans-plus person and would like to be part of this project, drop me a message.”

Taking a moment, Asher confirmed, “I’ve got another two songs on the way. I’m going to pause quickly to say, Mom, you got the flash on. This is my mom. Give it up for my mom trying to film me!” The audience applauded both the news and the moment of familial interaction.

Camera flash issues resolved, and Asher discussed the inspiration behind the next song. “Thank you. Um, I’ll talk about my next track. This one coming up is called ‘NearFly’, and it is about the barriers between physical intimacy. It’s about almost achieving a state of flying, a state of near flying. But the meaning changed and deepened when I lost my beautiful friend last year. The last time I saw her was at London Trans Pride in 2023; she had a little pink iPod Shuffle. I was like, ‘Babe, what’s on your iPod Shuffle?’, and she said she had my song. ‘I was like, how did you get it?’ And she told me she ripped it from my Soundcloud. Cheeky She was, um, anyway, she was still listening to it online in the months before she left us, and I had the deepest, deepest honour of singing the song at her funeral”. Sharing the personal tragedy behind the track added resonance and meaning for the artist and the audience.There was a definitive feeling of connection between the two.

Taking a breath, Asher concluded, “So, it was my way of saying goodbye to her, and it’s my love message to her, her mom, Jane, and also the Trans community. ‘Meow’, hit it Tim.” The intro opened to a reverent silence from the audience. I could easily picture someone delivering the song in a Memorium. The vocals soared for the absent friend. The background track still playing, Asher spoke, “Just by our visibility, our representation and opportunities, trans people, our community are very much under attack.” They then led the audience in a chant for the Trans community, “So when I say ‘Trans’, I want you to say, ‘Love Trans!’ “Trans.” “Love Trans! “After achieving their aim, Asher congratulated the audience, “Yeah! that’s right!”

Asher took a moment to pause for water, “Thank you so much. Tim. I know. I said, go straight to the next track, but I need just a little bit of water.” Their vocal delivery took it out of their vocal cords, beautiful though it was. “Excuse me, everybody. Excuse me. One Drag Queen second.” They took the opportunity to interact further with the audience, “So how is our evening? So I’m being that person that needs to drink more. I planned to do it (drink water) in the talking section, but I didn’t do that. So, we’ll call it performance art?… Thanks for one laugh.” They finished on a wry but amused note.

Rehydrated, Asher spoke about the next song. “I can introduce it. This next song is called ‘Rest In Me’, and it is. Hmmm, It’s a sad song. I’m just gonna say that. It’s from a time when I was feeling exceptionally sad…Because I am sad, bish. Do we have any other sad bishes in the room?” The response suggested many ‘Sad Bishes’ were in the room.

Pleased by the response, Asher said, “At least some of my people are here, mainly the ten I brought.” Then, they added, “It’s got some really high-pitch notes. I’ve got a really bad throat. I don’t know if I’m gonna hit them, so if I don’t hit them, just ‘Woo!’ really loudly. Okay? Yeah, can you do that for me?” Plenty of cheers confirmed that the gathered crowd had Asher’s back, “Thank you, ‘and scene’. Go for it Tim.” Unlike the previous songs for ‘Rest In Me’, Asher added a modulator to their vocals. It gave the track a more industrial feel, mixing their operatic vocals with the backing track. After the outro, Asher said, “I made some of the notes, and we’ll go with that.” To applause from the audience.

Addressing the audience again, Asher said, “Thank you very much. Thank you very much. Okay. I’ve got one more song, and it’s a new song, and this is actually a happy song!”. To which laughter rose from the audience, “But the one thing you’ll learn about me is happiness comes from the context a little bit of sadness, ’cause you can’t really have the light without the darkness”, they stated before asking, “Am I right? Yes! you can ‘Wooo’ to that. You can say, Yes!”, the interaction pulling applause and more ‘Whoo’s’ from the gathered crowd.

Asher’s last track was a new one, which is yet to be released but may be so as a single in the future. “I did my voice in the last track. So, you’re gonna get what you’re gonna get this evening. “Is that okay?” The audience jubilantly confirmed that anything Asher could manage would be fine. “Oh, thank you very much; I have absolutely loved being here!” Asher continued, thanks to various supporters, “Shout out again to ‘The Irrepressibles’, Joe, the beautiful tech team, and, of course, the Old Market, this beautiful venue, for having me as well. Come on. People ‘Woo’ that! Thank you! Alright, Hit it, Tim, let’s do it.” The final track, playing out, left the audience wanting more.

Asher, the consummate performer, again thanked the audience. They then apologised for missing some notes. “Thank you so much. Wow. There was no chance I was getting those notes, so, sorry about that. Haha. Thank you so much. I’ve been Asher Fynn, and I hope you have a beautiful rest of your night.” 

Asher Fynn: 
Asher Fynn – vocals + backing track

Asher Fynn setlist: 
‘Running’ (from 2024 ‘Emissions’ album)
‘Lifted’ (from 2024 ‘Emissions’ album) 
‘In This World’ (from 2019 ‘Original video Installation Soundtrack’ single) 
‘NearFly’ (from 2024 ‘Emissions’ album) 
‘Rest In Me’ (from 2024 ‘Flirts’ EP) 
‘I Thought I Knew It All’ (unreleased)

linktr.ee/asherfynn