Dizzying Heights: Olly Alexander at The London Palladium

It feels like ages since I’ve properly sat down to write a review. You can start to feel a bit pushed aside, you know? So, heading to the iconic London Palladium for the final night of Olly Alexander’s ‘Up Close and Polari’ tour felt like a welcome return, maybe even mirroring Olly’s own step into the solo spotlight.

Olly Alexander (Photo Credit: Courtesy of Chuff Media)

The London Palladium itself has history dripping from the walls – Judy Garland, The Beatles, Madonna have all played here. Tonight, it was sold out, buzzing for Olly. And right from the off, introduced by the unmistakable voice of Sir Ian McKellen explaining the concept of Polari, the secret gay slang, the vibe was set. Despite it being a seated venue, most people were up and dancing from the first note.

This tour, as the name suggests, was a more intimate affair than the big Years & Years arena shows. No backing dancers this time, just Olly, his fantastic band (guitarist, drummer, and those two brilliant backing vocalists who’ve been with him for ages – great to see familiar faces!), and a simple stage setup featuring a trunk for quick jacket changes. It felt less like a massive pop production and more personal, which really suited the Palladium. Maybe the budget wasn’t the same scale as the Night Call tour, but honestly, Olly doesn’t need huge spectacle to command a stage. His charisma is electric. He promised an evening of “celebration, liberation and scintillation,” and he absolutely delivered – warm, funny (calling himself “your local angry homosexual”), and completely engaging between songs.

Olly Alexander (Photo Credit: Courtesy of Chuff Media)

Musically, it was a smart blend. He kicked off with tracks from the new solo album Polari – the title track, “I Know,” the Erasure-tinged “Make Me a Man.” But the Years & Years bangers weren’t forgotten, woven seamlessly throughout. It was interesting hearing hits like “If You’re Over Me,” “Sanctify,” and “Desire” with slightly different, maybe more band-focused arrangements. The crowd knew every word, old and new – you genuinely couldn’t feel a difference in energy between the solo stuff and the Y&Y classics.

He shared some vulnerability too, explaining the meaning behind “Archangel” (about asking for help) before launching into the absolute anthem “King,” which predictably sent the crowd into overdrive. A real highlight was the completely rearranged version of his Eurovision entry “Dizzy.” Stripped back to just piano, it became this haunting ballad – genuinely stunning, and a brave move. He acknowledged Eurovision hadn’t been the “easiest experience” but that he stood by the performance. Fair play. His acoustic moments, like “Worship” blended with “Breathe,” and “Eyes Shut,” really showcased his vocal strength just as much as the upbeat numbers. The Pet Shop Boys cover of “It’s a Sin” felt particularly fitting, given his role in the Russell T Davies drama, and landed powerfully.

Coming back for the encore, “Heal You” felt emotional, before finishing with the pure joy of “Shine,” leaving everyone buzzing. Looking around, it felt like a slightly older crowd than the typical Years & Years gigs – maybe more mid-40s and up? It made me think about how artists evolve with their audience. He’s got this cross-generational appeal now, maybe like how Elton John spans decades, Olly’s becoming that figure for a new generation of British pop fans.

This ‘Up Close and Polari’ show felt like a statement. Olly Alexander doesn’t need the band name to shine. He’s a captivating performer in his own right, blending pop star energy with genuine warmth and vulnerability. He mentioned feeling rejuvenated by the tour and meeting the audience again, and you could feel that connection. A brilliant end to the tour in a truly special venue. Whatever he does next – more music, more acting – you know it’ll be worth watching.