LIVE FROM THE PIT: Starbenders, The Howling and Hell Hotel
- Lauren Wenham
- Jun 11
- 5 min read
Walking into Deaf Institute, the first thing that stood out was how little space there was on stage. With two drum kits already set up and equipment squeezed into every available corner, it felt like all three bands would have a challenge on their hands before a note had even been played. As the venue slowly filled, a selection of DAVID BOWIE tracks played over the speakers before ROBBIE WILLIAMS' Let Me Entertain You welcomed the first support act to the stage.
Opening the night were HELL HOTEL, who wasted little time making an impression. Despite the cramped conditions, the band used the stage well, constantly finding ways to move and engage with the crowd without getting in each other's way.
Their opening track, Turn Me To Grey, immediately showcased the strengths of the band. The lead vocalist's voice was clear and powerful throughout, effortlessly switching between melodic passages and huge screams that quickly became a highlight of the set. While the backing vocals occasionally struggled to cut through the mix, the supporting screams landed far more effectively. There was a slight disconnect between the band's introduction and the opening moments of the set, but once they settled into songs such as Shadow Of The Dance, that uncertainty quickly disappeared. Smooth transitions kept the momentum moving, and by the time they reached their third song, the crowd had noticeably warmed to them.
One of the strongest moments came during a slower track midway through the set. It allowed the lead vocalist's versatility to shine before the band immediately switched gears with a much faster and heavier follow-up. The contrast worked brilliantly and showed the range HELL HOTEL possesses. The band's staging also deserves credit, small lamps and decorative lighting gave the performance a cosy, almost homely atmosphere that stood out from the usual support band setup. Combined with the challenge of fitting two complete drum kits onto the stage, it was an impressive effort.
Closing with Promises, HELL HOTEL left a strong final impression. The bassist spent much of the final song playing directly to photographers at the front of the stage, adding an extra level of personality to an already engaging performance. While they occasionally struggled to fully win over the audience, there is plenty of potential here, and the drummer in particular was outstanding throughout.
Next up were THE HOWLING, who somehow managed to win over the room before they had even played a song. The band interacted with the crowd while setting up, creating an immediate connection that carried through the rest of the set. Their decision to walk out to the Scooby-Doo theme tune was certainly unexpected. It probably went on a little too long and felt completely disconnected from their image, but it got people talking.
Half of the band appeared in face paint, which suited the theatrical side of their aesthetic, although it felt slightly odd that the look was not carried across the full lineup. Whatever questions existed before the set quickly disappeared once the music started. The crowd reaction after the opening song was enormous. Leaning into the audience, climbing onto monitors and constantly engaging with those at the barrier, the band displayed a level of stage presence that felt far bigger than a venue of this size.
There is a star quality about THE HOWLING that is difficult to teach. While some of the vocals occasionally disappeared into the mix, it almost added to their chaotic charm rather than taking away from it.
Linger was an early highlight, while Mirror Legend gave the vocalist a chance to show a more melodic side. During slower moments, they frequently stepped right to the front of the stage and sang directly to audience members, creating some genuinely memorable interactions.
There were obvious influences from artists like YUNGBLUD and MY CHEMICAL ROMANCE, particularly in the vocalist's performance style and the band's theatrical energy. Importantly, though, they never felt like a copy of either. A cover of Like A Prayer could have completely killed the momentum. Instead, it became one of the most entertaining moments of the night. The band played it relatively straight before eventually descending into screamed vocals, much to the crowd's delight.
Throughout the set, the vocalist regularly stepped aside to give the guitarists room to shine during solos, while the lighting design was easily some of the strongest of the evening. By the time A MURDER CAPITAL and UNHOLY arrived towards the end of the set, the crowd were fully invested. The band's charisma was undeniable and if anything, they left the difficult task of following them to the night's headliners.
That task fell to STARBENDERS. As CARMINA BURANA’s O Fortuna echoed through the venue, the crowd erupted. The anticipation that had been building all evening finally spilled over, with screams breaking out before the band had even fully taken their positions. The opening notes of Blood Moon were met with an enormous reaction. From the outset, it was clear that STARBENDERS had carefully planned how to use the limited stage space available to them. Their movements felt synchronised and deliberate, allowing the stage to feel much larger than it actually was.
Unfortunately, the opening part of the set was plagued by technical difficulties. Multiple microphone issues and bursts of feedback interrupted proceedings, while the mix occasionally buried the lead vocals beneath the instruments. It was frustrating at times, particularly because the performance itself was often strong.
The drummer once again proved to be one of the standout performers on stage, while the vocalist's ability to loop parts live whilst continuing to sing was genuinely impressive. As the set progressed, the crowd's enthusiasm never faded. Audience members bounced, headbanged and screamed responses between songs, with guttural cries of "Oh my God!" and "Yes!" ringing out across the room. One of the biggest reactions of the night came later in the set during Seven White Horses. Introduced by atmospheric organ sounds and carrying religious imagery throughout, it provided one of the evening's most memorable moments and showcased the band's flair for drama. Interestingly, there was a slight disconnect between the band and audience during the early stages of the set. Compared to THE HOWLING, who had constantly interacted with the crowd, STARBENDERS initially carried themselves with a certain rockstar aloofness. They rarely addressed the audience directly, despite the obvious excitement coming from below the stage.
That changed noticeably once the vocalist put the guitar down. Freed from standing behind the instrument, their confidence seemed to grow with every song. Dancing across the stage, interacting directly with audience members and playing guitar parts inches from fans at the barrier, the performance suddenly came alive in a completely different way. Later, We’re Not Ok offered a slower moment amongst the chaos. It allowed the vocalist's performance to take centre stage and gave the crowd a chance to catch their breath before the band pushed towards the finish.
While THE HOWLING arguably delivered the most charismatic performance of the evening, STARBENDERS still closed the night to a rapturous reception. In a busy Deaf Institute with fans singing along and hanging onto every moment, it was clear that the band's following continues to grow. Technical issues aside, the excitement in the room never disappeared, and by the end of the night, neither had the smiles on the faces of those leaving the venue.
Words: Lauren Wenham
Photos: Owain Morris
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