CHROMA, the evil twin of Bicep - which comprises a record label, a series of curated events, a brand new and constantly evolving Bicep AV/DJ show, and a unique visual identity - brought the show to Finsbury Park on 2nd August.

The quiet, leafy park retained its wholesome charm but was embellished with thumping bass,  lasers, and smoke machines. Despite the small stages being nestled in amongst nature, the sound that boomed through the festival-like setup was phenomenal.

The two stages were curated by Bicep themselves, including Joy Orbison, Baby T, and Mia Koden, the latter having to contest against Bicep’s four-hour marathon (which was done successfully). 

Mia Koden © Photography by Jake Davis | Khroma Collective

That’s right, a four-hour marathon. From 18:00 until close at 22:00, Bicep had to hold the crowd's attention. And this is where CHROMA really shines.

Talking about CHROMA, Bicep said, “We wanted something dark and heavy to play as our first tune, as a stark departure from the Live show… It's exactly what we're wanting to achieve with CHROMA, a track written for the dancefloor with a specific idea in mind. It's a chance for us to stretch our legs outside a traditional album cycle and focus purely on music for us djing. It feels really refreshing for us to write music and play it out that same week. It's been really fun for us to let people hear a bit of a tougher sound from us.” 

It’s this heaviness that had people glued to the floor and fist-pumping at 140bpm.

It seems to be the year of rebirths, with Fontaines D.C. going through a spectacular transformation at the moment too. There’s space on people’s plates for the gritty, dark identities that are emerging. I mean, how couldn’t you?

Despite its genesis in the middle of a stormy December in London, “ROLA" stands its ground in the warm summer evenings with its shattering, rough bass drums and signature sharp synths.

Though billed as an AV/DJ performance, the ‘Bicep present CHROMA’ shows are actually more of a hybrid between DJ and live. The pair have several pedals and a drum machine they can use on stage, and there is a connection between the decks and the visuals team which allows the latter to see what is being played in real time adapting their visuals accordingly. 

The actual festival setup was incredible too. The bars were never too busy, it never felt crowded and you could hear the music from wherever you stood. The VIP area was one of the best we’ve been to, with real Monsterra’s(!!) and comfy sofas. 

© Photography by Jake Davis | Khroma Collective

As the sun sets, you can’t help but get swept up in the chaos. Fun chaos, but chaos nevertheless.

The lasers and lights dotted around the park cast a digital glaze over your eyes that made you a part of the music. The visuals and music were synonymous with their new image, further cementing their commitment to branching outside what was expected of them. 

And while the CHROMA material was devoured, the classics still hit hard. 

They’ve proven that in order to grow, you have to evolve.

And to evolve you must know your roots.

If they keep up the momentum that they’ve gained across this project, who knows where they’ll end up.