© Sharon Lopez (archief)
Some concerts feel massive even before a single note is played. Not through elaborate production or scale, but through the reputation that precedes them. Armand Hammer is one of those acts. The duo, long-established figures in the underground music scene, boasts a discography that’s almost intimidatingly consistent. At the Orangerie in the Botanique, that reputation wasn’t just confirmed – it was made palpable.
Opening the evening was Gabe ’Nandez. Performing solo on a large stage is never easy, especially with an audience clearly anticipating the headliner. However, he quickly commanded the space. Not through grand gestures or flashy tricks, but through focused delivery. His presence was controlled and he allowed the music to do the work. It was noticeable that he’s still finding his footing as a performer – not musically, as that was solid, but in how he positions himself on a stage of this size. At times, it felt as though he was still deciding how much space to occupy. Simultaneously, that uncertainty made him compelling to watch, suggesting growth happening in real time.
Tracks from Sortilège, his collaboration with Preservation, worked best. Everything fell into place more effectively with that framework. The production provided an extra layer of context, allowing his lyrics to resonate more strongly and giving the set greater cohesion. The audience wasn’t fully engaged yet, but that’s a challenging inquire in this setting. It was clear, however, that a talent with significant potential was on stage – someone to keep an eye on.
When Armand Hammer took the stage, the atmosphere immediately shifted. There was no grand announcement, no dramatic start. They simply appeared and began. Billy Woods partially obscured, as always, ELUCID with slightly looser movements. It felt more like entering their world than the beginning of a traditional display. From the first songs, it became clear how strong their live performance is. “Pakistani Brain” and “Calypso Gene” immediately set the tone, with those signature, slightly unsettling productions that they navigate as if it were the most natural thing in the world. What stands out is how organic that sounds. Those complex beats, which sometimes require a moment to land on record, gain a sense of immediacy live.
“Indian Summer” and “Woke Up and Asked Siri How I’m Gonna Die” fully showcased their dynamic as a duo. Woods and ELUCID don’t complement each other in a classic sense. Rather, they each follow their own line, which eventually intersects. One is sharper, the other more fluid. The contrast works, keeping the set constantly in motion. The focus was clearly on Mercy, their recent album, and that felt logical. Songs like “Peshawar” and “Scandinavia” landed powerfully and formed a backbone for the set. Live, those tracks were given a little more room to breathe, with subtle variations and emphasis on certain lines, just enough to keep things compelling without losing the core essence.
What similarly made this show strong was how they wove in their solo work. It never felt like an interruption, but rather an extension of the whole. ELUCID brought material that aligned well with the mood, while Woods pulled songs from his own catalog that thematically fit perfectly. This maintained coherence, despite the constant shifts.
Midway through the set, the audience was fully locked into their rhythm. Not because everything became predictable, but because you began to understand how they operate. Tracks like “Misery,” “Hunter,” and “Make Me Wise” built on that tension between structure and chaos. At times, it seemed as though they were slightly off-beat, only to land perfectly on it moments later. That play with timing is something they truly excel at. There were moments when the audience had to search for the connection. Not every track lands immediately, and that’s part of their music. But that search is what makes it interesting. They don’t make it easy on themselves, and not on the audience either. Yet, they continued to carry the room with them, without altering their approach.
Towards the complete, the set became more direct. “THE WORLD IS DOG” and “War,” along with opener Gabe ‘Nandez, brought more energy, without feeling forced. It always remained within their own framework. There was no attempt to make it bigger or more accessible than necessary. With “Falling out the Sky” and “Tabula Rasa,” it became clear once again how strong their material is. These are songs that already make an impression on record, but live they gain an extra layer. You feel the intensity more, the words hit harder, and the beats become more physical.
The closer with “Dislocated” and “Stonefruit” worked perfectly as a final affirmation of what they had done that night. A set that was constantly in motion, but never lost its focus. What remains most striking is how well Armand Hammer translates their studio work to a live context. Nothing is lost, quite the opposite. The complexity remains, but feels less distant. You’re right in the middle of it, without it being simplified. It wasn’t a show that imposes itself or tries to convince. Everything was in the execution itself. Two artists who understand exactly what they’re doing, and deliver it without much fanfare. Together with a strong opening set from Gabe ’Nandez, it was an evening that revolved entirely around substance – and that’s why it lingers.
Setlist:
Pakistani Brain
Calypso Gene
Peshawar
Woke Up and Asked Siri How I’m Gonna Die
Cantata
Misery
Make Me Wise
Scandinavia
Hunter
Waterproof Mascara
Indian Summer
BAD POLLEN
THE WORLD IS DOG
War
Body To Inhabit
Falling out the Sky
Tabula Rasa
Dogeared
Super Nintendo
Dislocated
Stonefruit
