Entering the ballroom, I have a vague idea of the kind of clientele Black Honey will attract. Making my way to the upper tier of the venue, I look down and skim the crowd of 90s inspired mom jeans, space buns and the overall far too-cool-for-school audience.
Regardless of the cliché crowd, there is something different about the aura in the air. It feels carefree, people seem to be genuinely enjoying themselves – they’re not just here because the aesthetic of Black Honey is a Quentin Tarantino inspired movie set. They’re here because Black Honey are a sensually stimulating, synth-pop/rock band – and they’re here to bring your senses alive, ultimately making you feel like the bad bitch that’s been hiding inside of you, waiting to claw her way out.
Izzy B Phillips enters the stage following her fellow band members and they open with ‘I Only Hurt The Ones I Love’, the crowd instantly lose their mind. Loyal fans are centred in a circle near the front of the stage, waiting for the Izzy to embrace them with her dominating, husky voice, exclaiming, “fucking hell, London”.
Continuing with ‘Madonna’ from way back when, they captivate the crowd with their 90’s/00’s sound which has an early No Doubt vibe with a twang of Muse’s dirty electric riffs and basslines. Dedicated fans form a large circle mosh-pit directly in the middle of the floor near the stage, and jump continuously to the sexy sound of ‘Spinning Wheel’ which has a swinging, Clint Eastwood, wild-west cowboy feel to it. Izzy continues to keep her fans in awe, as she gracefully prances around the stage, swinging her hips to the beat and singing along with the audience.
There is an aura of feminist power whilst watching the spotlight beam down on her. The image of bravery and unforgiving ownership of her body and soul is shining through, whilst Phillips dominates the stage and takes control of what is rightfully hers.