In a moment that felt like the perfect full circle, Royel Otis’s triumphant return to Eora/Sydney culminated in a sold-out show at the iconic Hordern Pavilion on Saturday night. The homecoming marked an extraordinary close to a whirlwind year that saw the duo rocket from rising stars to bona fide global sensations. Back in February, they packed out Liberty Hall (which we covered here)—a 1,200-capacity venue just across the road from Hordern. Fast forward less than twelve months, and they’ve notched up countless sold-out tour dates across the globe, gone viral with their irresistible covers of Sophie Ellis-Bextor’s ‘Murder on the Dance Floor’ and The Cranberries’ ‘Linger,’ picked up four ARIA Awards, and graced international TV screens with a debut performance on Jimmy Kimmel! Saturday’s homecoming show, a massive 5,500-capacity celebration, was the cherry on top of a year that’s been nothing short of meteoric for Royel Otis.
The duo, known for their laid-back charm and adorably shy stage presence, stepped up to the Hordern stage as confident, near-unrecognisable performers. From the moment Roy launched himself into ‘Heading for the Door,’ it was clear this was a victory lap of epic proportions. Behind them, their now-famous giant prawn mascot glowed under the stage lights—a cheeky nod to Australia’s love of oversized roadside attractions, from Ballina’s twin prawn to the Big Pineapple and Big Merino.
The night kicked off with a stellar double bill featuring fellow Eora/Sydney acts, Le Shiv and Nick Ward. Le Shiv brought their signature brand of indie rock—all sun-drenched hooks and a touch of California cool—which felt like the perfect prelude to Royel Otis’s own brand of grooves. The band’s sophomore album, ‘(Un)adored‘, has already been making waves.
Nick Ward followed, delivering a magnetic performance that felt like a masterclass in modern pop. Fresh from a tour supporting Troye Sivan, Ward’s set showcased his genre-blurring style, weaving elements of indie, pop, and hip-hop into something uniquely his own. Think LANY’s glossy melodies meeting Declan McKenna’s lyrical twists. Ward’s ability to shift seamlessly between heartfelt ballads and anthems was mesmerising. A pure joy to witness.
In between sets, familiar faces from Eora’s burgeoning music scene could be spotted throughout the audience, while fans clamoured to find the signature handwritten letter Roy hides in each venue before a show.
Once Royel Otis jumped on stage, they tore through a setlist that showcased their uncanny knack for crafting earworms, from the effervescent ‘Oysters in My Pocket’ (covered by Arun Kendall upon release in 2022) to the anthemic ‘Sofa King.’ Their viral covers were, unsurprisingly, massive crowd-pleasers—‘Murder on the Dance Floor,’ no doubt a staple of many Spotify Wrapped playlists this year, had the crowd in a dance-induced frenzy. The encore performance of ‘Linger’ was a magical moment, with thousands singing in unison as the band stepped back, letting the audience’s voices carry the song to its close.
For Royel Otis, 2024 has been nothing short of monumental. With a packed schedule that includes their upcoming set at Lost Paradise Festival, their ascent shows no signs of slowing down and it has us feeling especially warm to welcome them home.
Image Credit: Jessamy Hutton
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