King Krule aka Archy Marshall, it's safe to say, has been at it for quite a while now…

From the gorgeously melancholic soundscapes of 6 Feet Beneath the Moon, to the muddy post-punk-inspired wails of Man Alive! – Krule has been keeping us enthralled since 2010, with his distinctly cinematic style of sonic auteurism. Out from scrappy shades of Victorian child-like pallor, the singer-songwriter has matured into one of the strongest performers and musicians of the modern indie circuit.

Earlier this year, King Krule released his fourth LP, Space Heavy. Equal parts intimate and idiosyncratic, the new record showcased Archy at the height of his songwriting powers, in a dreamy odyssey of moody vocals and warm jazz voicings. Space Heavy laid bare a new, wizened side to the artist, as he finds himself navigating the trials and tribulations of love and fatherhood.

Suffice to say, anticipation was high…

Packed in like sardines – the gilded corners and edges of Dublin’s 3Olympia have never looked so resplendent… We stood. We waited – Chatter out from the side. Coming on, is he coming on? And then out stomped Archy Marshall, to emphatic chants of “Archy! Archy! Archy!" out from the baying crowd. Quite the dissonant rockstar moment – had I slipped into an AC/DC gig by accident? You would expect this sort of cult of personality dynamic from a colossal Taylor Swift stadium show, maybe a three hour Bruce Springsteen gig at a push – but for an indie rocker like King Krule? – Undoubtedly a powerful reception…

Joining him on the stage were erstwhile collaborators, saxophonist Ignacio Salvadores, drummer George Bass, bassist James Wilson and guitarist Jack Towell – who played on Krule’s latest release. From the opening wave of ethereal guitar, we knew we were in good hands — as Krule launched into ‘Perfecto Miserable’ a dreamy cut from 2020’s Man Alive!

King Krule at the 3Olympia Theatre, Dublin 4.10.2023 Copyright Colm Kelly

With an unrelenting energy, Archy then ripped his way through ‘Alone Omen 3,’ over the harshness of Wilson’s gritty basslines. Having never seen Krule live, I was slightly taken aback by just how much Archy embodies his songs in live performances – howling into the mic like Joe Strummer on speed, he was truly a force to be reckoned with.

King Krule at the 3Olympia Theatre, Dublin 4.10.2023 Copyright Colm Kelly

'Dum Surfer' was another undeniable standout of the night, a perfect storm of snarled vocals, harsh bass and jangly guitar chorus. New tracks also sounded excellent live, complemented by Salvadores’ playing and Archy’s warm guitar tone. ‘Tortoise of Independency ', ‘Empty Stomach Space Cadet’ and ‘Seagirl’ were laid down on a perfectly subterranean bed of fuzzy synth and lush chorus. With impressively tight drumming from Bass, the stuttering polyrhythms of ‘Hamburgerphobia’ also sounded fantastic, as the band waded through the experimental track, laying down a murky soundscape of soaring synths and thrashy guitar.

“It's good to be back, thanks for coming out, " Archy said, looking out across the sea of fans. To rapturous applause, then came the menacing bass riff of ‘Pink Shell,’ which sounded massive, accompanied by Archy’s impressive vocal delivery. The end of the song saw the band edge ever closer to noise-rock/ambient territory – as they drove to the sheer bottom of echoey despair. Krule repeated the trick with ‘Emergency Blimp,’ an intensely punky track from The Ooz, led by effect-laden guitars and Krule’s slick vocals.

King Krule at the 3Olympia Theatre, Dublin 4.10.2023 Copyright Colm Kelly

It has to be said, Salvadores stole the show with his frankly chaotic stage presence and brilliantly unhinged saxophone stylings – transporting us all to the darkest dinges of a smoky jazz club and back again, in a flurry of virtuosic phrasing. Echoing the madcap theatrics of infamous stage dancers like Bez of the Happy Mondays, Salvadores swung a colossal saxophone about; vaulting it over his head at points and collapsing into the crowd.

“What’s bubblin’ Dublin?” Quipped Archy, before jetting into fan favourite, 'Easy Easy,' a rip roaring, moody declaration of teenage discontent. There was something gloriously transcendent, strangely communal, in singing along to the song – as the crowd surged, united in crazed wails of “‘low Tesco’s stealing my money!” Older 6 Feet Beneath The Moon cuts still have a wealth of life to them live – if not sounding better than ever, with a new lick of paint from Krule and his band. What could have been limp exercises in nostalgia were energetic reimaginings, receiving some of the most impassioned responses of the night.

King Krule at the 3Olympia Theatre, Dublin 4.10.2023 Copyright Colm Kelly

The intricate stage design and lighting further completed the atmosphere, as the band played behind the artwork of Space Heavy’s album cover, painted by Archy’s brother, Jack. The gig almost felt like an elaborate light show at points, as the band were lit aglow in flashing hues of red and electric blue. Teetering on slightly overwhelming, the blinding lights, coupled with the band’s relentless energy and cacophonic sound, were truly a barrage of the senses – making for a truly sensational and immersive live performance.

In regards to the gig being the opener of Krule’s European tour, Archy mused: “It’s good to be back in Europe, I missed you…”

After a brilliant rendition of ‘A Lizard State,’ Krule crooned a couple of bars from Phil Lynnot’s ‘Old Town,’ in a nod to Irish rock royalty, interpolating the song with Space Heavy guitar stylings. A tricolour draped at the edge of the stage, however, was unfortunately left ignored by the band. Not above slowing things down for a beat, Archy then waxed sentimental in a tender rendition of ‘Baby Blue.’

King Krule at the 3Olympia Theatre, Dublin 4.10.2023 Copyright Colm Kelly

“Could everybody meow for me?” asked Archy towards the end of the set; directing a choir of meowing fans into a rendition of ‘Its All Soup Now,’ a track released on flexi disc earlier this year.

It had to end on ‘Out Getting Ribs’ – what else? A hit penned by the singer-songwriter when he was only 17, ‘Out Getting Ribs’ has become a poignant encore centrepiece for Krule’s live sets of late, charting the trajectory of his career. A matchless display of guitar work and introspective songwriting, the track was Krule’s first success, truly cementing his status as a world class indie musician. Judging by the crowd reaction, the song meant an awful lot to them too, singing along to the cathartic punch of that biting musical cliffhanger, a tonic for the troops…

Dazed, out we pour, on a sea of trucker hats, corduroys, and bad moustaches —eyes fairly sore, brain fairly melted. A gloriously spacy barrage of the senses, King Krule is even better live…