Alex Comaish at The Finsbury, London

Written by Mia Samson

Alex Comaish performing at The Finsbury

As I walked from Manor House tube station, I noticed that there's a certain charm to ‘The Finsbury’ that feels increasingly rare in London's gig circuit. Freshly renovated but still retaining the character of a proper old-school pub, it strikes the balance between neighbourhood local and grassroots music venue. Which is the perfect setting for tonight's gig.

On this particular evening, its intimate back room was filled with a mixture of young gig-goers, couples old and young and what appeared to be Alex Comaish's own friends, creating an atmosphere that felt less like a showcase and more like a celebration.

That sense of familiarity suited Comaish’s vibe perfectly. His music thrives on stories, everyday observations and emotions that feel lived in rather than manufactured, and throughout a seven-song set he proved himself to be a songwriter who understands one thing above all else: people still love a great chorus.

Opening with the song ‘Crazy Lately’, Comaish wasted little time demonstrating his knack for writing hooks. The track's jangly guitars and instantly memorable refrain owed an undeniable debt to The Cure, but it was delivered with enough conviction to get heads nodding from the outset.

That strength continued into a song centred around the all-too-relatable regret of drunken late-night phone calls. While the subject matter was familiar, its catchy chorus elevated it beyond another tale of heartbreak, highlighting Comaish's ability to turn ordinary moments into songs that linger.

The set's emotional centre came with ‘Remembrance Sunday’, which could easily be a tribute to The Smiths. References to Newcastle gave the song a grounded sense of place, while its wistful melody echoed Please, Please, Please Let Me Get What I Want. The influence was impossible to ignore, yet Comaish wore it proudly rather than disguising it. He wasn't attempting to reinvent the wheel; he was paying homage to the artists that shaped him.

It was perhaps ‘Little Man’ that offered the clearest glimpse of Comaish's own artistic identity. A moving reflection on absent fathers and complicated family relationships, the song carried a more distinctive voice than some of the earlier material. Honest without becoming overly sentimental, it suggested that his strongest writing comes when he leans into his own experiences rather than the sounds of his heroes.

Between songs, Comaish's relaxed stage presence proved just as engaging as the music itself. He chatted effortlessly with the audience, joked between numbers and never allowed the evening to become overly polished. Instead, it felt genuine - a quality that can often be lost in larger venues.

‘Listening to London’ particularly benefited from that rapport, inviting crowd participation while unfolding like a story shared among friends rather than performed to strangers.

Just when the set threatened to settle into one emotional tempo, ‘Damp Streets’ injected a welcome burst of energy. More rhythmically driven than the songs preceding it, it encouraged movement across the room and demonstrated that Comaish is capable of more than gentle indie melancholy.

The closing song was arguably the evening's strongest. Built around an unexpected hip-hop-inspired drum groove, it showcased a different side to his songwriting. Written about a woman he loved who later moved away, with the pair writing songs for one another, it carried a genuinely romantic sentiment without tipping into cliché. More importantly, it demonstrated a versatility that hinted at where Comaish could take his sound next.

If there is one criticism, it's that his influences occasionally threaten to overshadow his individuality. Throughout the evening, echoes of The Cure and The Smiths were never far away. For me who adores both those bands, as well as listeners who grew up on those bands, that's hardly a complaint, but there were moments where the familiarity of the melodies made you long to hear more of Comaish's own musical fingerprint.

Even so, it's a minor criticism of an otherwise thoroughly enjoyable set. At a time when many emerging artists prioritise atmosphere over memorable songwriting, Alex Comaish stands out by understanding the value of a hook. Couple that with an easy charisma, thoughtful storytelling and an audience that clearly wants to root for him, and you leave The Finsbury with the feeling that you've caught an artist still growing into his own voice - but already possessing the songwriting instincts to make people keep listening.