Music
Review
Yannis & The Yaw at O2 Shepherd’s Bush Empire, 11/12/24
Philippakis proves why his colourful, collaborative solo venture is much more than just a Foals side quest
Defined as a “twisting or oscillation of a moving ship or aircraft about a vertical axis,” the word ‘yaw’ was undoubtedly new to many Foals fans when frontman Yannis Philippakis unleashed Yannis & The Yaw in April – via launch single ‘Walk Through Fire’. However, it might just encapsulate the free-flowing, improvisational nature of the project to a T.
Giving a home to Philippakis’ much-teased sessions with the late Fela Kuti drummer Tony Allen, Yannis & The Yaw’s debut EP Lagos Paris London arrived in August. Completed after Allen’s passing with a cast of collaborators – who now form The Yaw – the EP incorporates Afrobeat, jazz and disco influences, while still retaining Philippakis’ signature vocal rasp.
Before the Foals machine hopefully gets up and running for album eight, much of Philippakis’ 2024 has seemed to revolve around The Yaw, culminating in a final string of December live dates. Wednesday’s show at O2 Shepherd’s Bush Empire was packed to the brim, likely with plenty of Foals fans hoping to get a rare glimpse of Philippakis in such an intimate setting.
Despite having only five songs to their name, Yannis & The Yaw make it clear from minute one that this project centres around raw feeling and improvisation. A delicate intro jam ushers in opener ‘Under The Strikes’, which has a delightful, dance-inducing top line that would give Ezra Collective a run for their money.
‘Clementine’ morphs into somewhat of a long-lost Foals track in the live room, which is testament to the style of guitar playing that has become synonymous with Philippakis. ‘Walk Through Fire’ sits head and shoulders above the rest as the highlight, however, with bassist Seye Adelekan sounding particularly invigorated, unable to wipe the smile off his face.
In a modern age of polished live shows with tip-top production, the chemistry seeping out of Yannis & The Yaw is refreshingly immediate, enabling the songs – and the set at large – plenty of room to breathe. Jamming towards the one-hour mark, the encore of ‘Rain Can’t Reach Us’ makes for a euphoric closer, as the song comes into its own – riff by riff, before being winded back down to its very bare bones.
The founding basis of The Yaw can hopefully open the floodgates for future collaboration, innovation and experimentation from Philippakis, away from the pressure of the Foals moniker. Their graceful live show matches up to this sentiment of unpredictability and free thinking, sitting at a unique fusion point of genres, cities and artists.
