Yonaka is as much a beacon as they are a band. The Brighton trio comprises Theresa Jarvis (vocals), Alex Crosby (bass), and George Werbrouck-Edwards (guitar), showcasing an uncanny ability to illuminate the dark corners of our subconsciousness, where self-loathing, imposter syndrome, and pent-up rage reside. They employ a fusion of pop, punk, and hip hop to break down barriers, guiding us towards a better path—one where uniqueness, worthiness, and the potential for achievement prevail.
Theresa’s capacity to lyrically and vocally jolt you, simultaneously striking your brain and your heart, sets the band apart. Much of this stems from her openness and willingness to share profoundly personal insights into her own life through the band’s music. This forms an immediate connection and emotional bond with the listener. When complemented by George and Alex’s immense talent, it creates a spellbinding, life-affirming reaction for anyone caught in their headlights.
Spotting the name “Yonaka” atop the bill at last weekend’s Misery Loves Company festival was a significant draw. The band’s reputation for electrically charged live shows has been hard-earned and well-deserved. Tonight’s performance would solidify their standing as one of the premier live acts in the UK.
Armed with their new album, “Welcome to My House,” the band set out to captivate every set of eyes and ears in the festival’s largest venue, SWX. There’s an unmistakable swagger about this band, born from the self-confidence of amassing 150 million streams. Theresa locks her gaze onto individuals as she belts out anthems like “Punchbag” and “Call Me A Saint.” A fervent front row reaches out towards her, passionately echoing every word of every song, as if seeking the band’s approval. The misty blue backdrop is cut through by George’s silhouette, making his guitar bleed as he lives through every hook. Meanwhile, smoke swirls around Alex, casting him as an ethereal being, clutching his bass like warriors of the past would emerge from the fog, swinging their broadswords. The single spotlight on Theresa imbues an evangelical edge to her performance, using “Ordinary” and “Creature” to dispel the demons of self-doubt in the onlookers, empowering them to be the best versions of themselves. A personal highlight for me was finally hearing “Guilty,” stripped back and live—a moment that, quite frankly, cracked open my soul, leaving me as emotional as I’ve ever felt at a gig.
The fleeting respite offered by “Guilty,” from the earlier energetic onslaught, dissipates quickly as the band cranks up the intensity over the remaining four songs. Reactions to “Rockstar” and “Seize the Power” threaten to register on the Richter scale. And just like an earthquake, it’s suddenly over. The house lights come up, capturing a crowd beaded in sweat and grinning from ear to ear. They pass by me still singing their favorite tracks, their voices now hoarse and cracking.
We bid Yonaka farewell as they embark on their North American tour in autumn, supporting Barns Courtney. But upon their return to these shores, we’ll have a band capable of headlining any UK festival or arena they choose.
📸📝 The Bristol Nomad
@thebristolnomad / @bristolnomad_gigphotography
Role: Photographer / Reviewer / Interviewer
Chief, the one that bugs the team for team for their reviews and images. Creator and founder of The Bristol Gig Guide. Can usually be found swamped in admin or getting cramp kneeling at the front of a gig.
Available for: Gig Shoots, Gig Reviews, Photo Shoots, Album and Single cover shoots, Videography work, Interviews and Touring
First attended gig: Republica, circa 1996.
First gig shot: Hands Off Gretel, at The Louisiana!
Dream gig: Huge metalhead and my ultimate dream gig would be shooting my heroes Slipknot at a huge stadium gig, or as festival headliners. And to experience shooting a headline tour outside the UK
