Matt Wellham
After years of photographing and filming the London music scene, Matt’s now based in Sydney, Australia. A lover of the post-punk and alternative movement, he can usually be found in the grassroots venues, camera in one hand and a beer in the other.
Mac DeMarco returned to the Hammersmith Apollo, backed by a fresh band to tear through a perfect blend of new and old music. As always, it wouldn’t be a Mac DeMarco show without a touch of nudity…
Mac DeMarco has been a figurehead for independent music for well over a decade. His lo-fi sound and laid-back persona are so iconic that you can usually recognise a DeMarco track as soon as the needle touches the vinyl. His record ‘Guitar’, released earlier this year, continues that DIY legacy and brings a batch of new songs that we’re bound to be talking about in the next decade. This week, it was London’s turn to experience these new tracks in the flesh, as Mac DeMarco was checking in at Hammersmith’s Apollo.
“I’ve just released a new album, I’m gonna be playing some songs from that tonight,” Mac announced as he stepped out on stage, clad in his usual workwear, looking like he’d come straight out of the Canadian wilderness. He followed with a wry smile and added, “I’ll be playing some old ones too.” What followed were 27 songs that blended some of Mac’s finest moments with tracks from ‘Guitar’, and even a cover or two for good measure.
As the haze rose and the lights shone red, the band kicked into ‘Shining’, a minimalist and serene song that showcases some of the more emotive elements of Mac’s new album.
What struck me straight away was just how good Mac’s voice sounds live. Don’t get me wrong, he sounds great on record, but in person, his vocal range is something else entirely. He nails the highs that ‘Guitar’ demands, adding just enough grit to hammer home the introspective outlook that runs through the album.
Earlier on, we heard ‘For The First Time’ and ‘On The Level’ from 2017’s ‘This Old Dog’. These woozy, Tame Impala-esque tracks gave us the opportunity to see Mac’s personality shine through. As the band soaked the room in reverb-drenched synths, Mac reeled off the lyrics before launching into his own dance party on stage, swinging the microphone around like a samurai sword, before taking a moment to kiss the band’s hands as they let out infectious riffs. We’ve all seen clips of Mac online, goofing around in the studio, being kooky and carefree and he’s exactly the same on stage. It’s a total joy to watch, and I found myself constantly laughing mid-song as he ad-libbed ridiculous conversations with his band mates and the audience.
As Mac delivered a super-speedy version of ‘Salad Days’, I looked around and noticed just how many generations his music has influenced. Not only were there people my age, the ‘dawn of the internet’ millennials, but also TikTok ‘kids’ rubbing shoulders with 70s-style hippies. And that’s the magic of Mac DeMarco: his music is relatable, easy to listen to and incredibly catchy. There’s nothing overly complex in the chord progressions or any sprawling solos, yet each song has that earworm energy that makes you want to sing along.
As promised, Mac delivered a perfect blend of new and old. Classics like ‘Ode to Viceroy’, ‘Passing Out Pieces’, and ‘Moonlight on the River’ all made an appearance. My personal highlight was hearing ‘Another One’ live for the first time. As Mac guided the audience in a synchronised arm wave, the Apollo’s walls reverberated with the sound of the entire crowd singing back at him, blending perfectly with the wavy synths. Every era of Mac had its moment to shine (except his debut ‘Rock and Roll Night Club’), meaning there was something for everyone.
There were even some unexpected moments, including covers and an impromptu handstand competition. Ryan Paris, the 72-year-old singer behind ‘Dolce Vita’, made a surprise appearance to sing ‘Simply Paradise’, which bizarrely ended with him taking his belt off before leaving the stage.
Mac’s humour came through strongly again when he introduced ‘Freaking Out the Neighbourhood’ as “an old English ditty I wrote in Yorkshire.” What followed was a barnburner performance, with Mac tearing around the stage like a man possessed.
And of course, it wouldn’t be a Mac DeMarco show without a touch of nudity. True to form, Ryan Paris returned for a shirtless rendition of ‘Dolce Vita’, joined by Mac and the band for a sweaty mosh on stage, a hilarious and absurd way to close the night.
Mac DeMarco is closing out 2025 by delivering some of his best live performances to date. His set perfectly balances new and old, and his newly formed band brings a groove and punch that elevate the entire show. He’ll be back in London next summer for two nights at Brixton’s O2 Academy and I’ll make sure to be there, moustache freshly trimmed and cap pulled low.
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By Matt Wellham
