This was my first time in the Olympia Hall at the Winter Gardens. It’s not quite as refined as some of the other rooms within the complex, but it worked well for the gig and suited it nicely. It was easy to enter and exit, had a friendly atmosphere, and the bars and other facilities were all conveniently located.

Before The Fratellis took to the stage, the Infernal Galop, also known as the can-can theme, played over the sound system, setting a slightly tongue-in-cheek tone for what was to come. 

The Fratellis got straight into the action with one of their popular lively songs, Henrietta, from their most successful album Costello Music, which was released 20 years ago in 2006. Frontman Jon Fratelli came onto the stage wearing his familiar light, trilby-style hat, apparently a look he’s become known for over the years. 

One of the first things that stood out was the addition of two brass players, a trumpet and saxophone, whose sound rang throughout the hall. 

I wasn’t expecting them, nor was I expecting the three female backing singers and dancers, but all of them complemented the band's music well and added another layer to the live performance.

Keeping the tempo up next was Baby Don’t You Lie to Me!, from the 2015 album Eyes Wide, Tongue Tied. Third up was a bit of a surprise, with the band launching into Yes Sir, I Can Boogie, the Baccara cover. It was an unexpected choice but fitted nicely into the set.

Fourth came Imposters (Little by Little), which brought a country-rock sound that I wasn’t expecting to hear from The Fratellis. The band recorded Eyes Wide, Tongue Tied in Los Angeles, California, and Jon Fratelli has previously noted how the sunny West Coast Americana and folk-rock influences of California crept into their writing for the track. With the growing popularity of country music in the UK, perhaps they’re more inclined to include this side of their sound in the set these days.

Fifth was the high-energy Creepin Up The Backstairs, prompting plenty of claps and foot stomps from the crowd. Sixth was Whistle For The Choir, their second most popular song and another track from Costello Music. Naturally, this prompted a big singalong, with much of the crowd joining in.

Seventh was I’ve Been Blind, from their 2018 album In Your Own Sweet Time. This was followed by Vince the Loveable Stoner and Living in the Dark.

Then came Flathead, which featured an impromptu Stevie Wonder “Superstition” outro woven into the performance by the brass players. It was a nice little addition and sounded particularly good as it rang around the building.

The set continued with Jeannie Nitro, Ole Black 'n' Blue Eyes, Too Much Wine, Baby Fratelli and We Need Medicine, keeping the energy going as the band worked through a good mixture of their catalogue.

For the encore, they returned with Lay Your Body Down, before launching into their most famous song, Chelsea Dagger. The familiar opening immediately erupted the dancefloor into a wave of dancing and singing, with the crowd joining in with the iconic chant. It did exactly what the song is known for in venues far and wide, bringing everyone together for one of the biggest moments of the night. 

Finally came a cover of Runaround Sue, originally by Dion, which prompted another big singalong and brought the evening to a lively close.

There was a real sense of energy from all the members throughout the performance, with the three dancers proving a good fit for The Fratellis’ high-energy, playful style of indie rock. Their presence added to the lively feel of the set without ever becoming a distraction from the band. The Fratellis sounded solid throughout, while the addition of the brass players gave several songs an extra dimension, particularly during the bigger, more upbeat numbers. 

I think the best place to listen would probably have been in the main ‘mosh’ area between the sound desk and the stage. I opted for the balcony because it was quieter and more relaxed, and generally felt like less hassle, but I think I probably traded some of the sound quality by doing so. It was a more laid-back way to watch the gig, but perhaps not the best place to get the full impact of the live sound. 

Throughout the set, Jon Fratelli thanked the crowd several times, although he mainly let the music do the talking. The set lasted around an hour and 15 minutes, which felt like a decent length given the amount of material they managed to get through.

Overall, it was a really enjoyable performance and a good reminder of why The Fratellis have remained such a popular live band. The set offered a strong mix of their better-known songs, deeper cuts, covers and a few unexpected touches, while the brass section and backing singers brought something fresh to their familiar sound. The band were clearly enjoying themselves on stage, and that energy carried through to the crowd, particularly during Whistle For The Choir and Chelsea Dagger. The Olympia Hall might not be the most polished venue, but it worked well for this kind of gig, providing a friendly and relaxed setting for a lively night of live music. For a band with such a recognisable back catalogue, The Fratellis still managed to make the set feel fresh, energetic and genuinely fun from start to finish.

Author: Andrew Braithwaite

Andrew is the founder and chief editor of Music Talkers. He's also a keen music enthusiast and plays the guitar.