Gig Review: Everything, Everything @ The Prospect Building 03rd Dec 2025

Credit: Caitlyn Knight (@caitlynknightportfolio)

There’s a well known saying, ‘Never judge a book by its cover’ and I learnt exactly that on the 3rd of December. On that night, I ventured to the Prospect Building to watch experimental indie rock band, Everything Everything for their show celebrating the 10th Anniversary of their album Get to Heaven.

As I entered the building, I was greeted by their merch stand which indicated nothing of explanation as to what I was going to endure that night, with their apparel depicting 3 coloured, angled squares. As someone with not much to go off of the band but their adventurous album cover and abstract lyrics upon my first listen of their biggest hits, this admittedly left me rather confused. The crowd members were nothing of which I anticipated visually, either. To be honest I had expected a predominantly younger crowd (due to the rise in ‘niche’ culture amongst youngsters), but contrary to my belief it was a mixed demographic. It’s also to note this show was held in the room which is withheld for larger, well-known bands and this space was pretty packed out with people raring in anticipation for the beginning of Everything Everything’s set.

Caitlyn Knight (@caitlynknightportfolio)

After wavering to the front and surpassing the barrier, their set began. I immediately was greeted with coloured lighting and a sonic introductory sound signalling their entrance. The whole thing was admittedly quite theatrical, and it was clear that the band paid particular attention to the visual aspect of their show. As the crowd began to roar, the unexpectedly large band gathered on the stage, dressed head to toe in very plain, long matching utilitarian-style outfits. The attention to detail on their aesthetic was undeniable; everything on stage was up to scratch with this vibe, with the lead singer, Jonathan Higgs, weilding a neon green guitar. This left the impression perhaps that the focus was to allow the audience to hone in on their music, rather than their appearance, which is something I had never seen from a band but admittedly I found it had exactly that effect on myself- as I became rather taken aback by the show, with pretty immediate effect.

The band opened the show with the song ‘To the Blade’. I was immediately met with driving synth sounds, accompanied by psychedelic, melodic soundscapes which held the inquisitive drive of 2010 summer tunes amalgamated with the almost tinny, atmospheric groove of Declan Mckenna’s most recent works in, ‘What happened to the beach?’. As they adventured through their both recent and not-so-recent works of music, I was mesmerised by the unnatural sounding, intriguing flavour of their songs. It transformed me into a sort of state which held memories, again, of that summer feeling. The pairing of the positive and also almost inquisitive chords of the guitars with their love of a bit of delay addressed me with that sort of vibe when you are at a festival, with music blaring, a pint of beer and the crowd are just slightly too overbearing. To me this is strangely both a comforting and nostalgic feeling, having grown up very much enjoying music. Presumably the lighting fixture is something of which they travel with, as it was meticulously timed to accompany the music and each song with perfect, effortless ease. If not, the lighting guy definitely needs a raise.

The show felt very put-together, and ultimately effective at demonstrating their love for performing the art they have created. The synth player particularly caught my eye both in person and in post-production of my imagery from the event, as not once did I look over and he wasn’t engaging in some effort of movement. You can see from the photos I took; the stage scene was credibly picture-esque. Overall, I really enjoyed my time watching them; I was pleasantly surprised and they performed an amusing live show.