Palaye Royale began their ‘Amsterdamage’ era with an incredible acoustic show yesterday (2nd October) at King’s Cross Station, London.

Fans had already started to gather in front of Universal Music before the press conference for the announcement of Palaye Royale’s new album ‘Amsterdamage’ had even begun. By the time the band left the building to be greeted by the crowd and walk with their fans to King’s Cross station, the crowd was huge.

So huge in fact, that security told Palaye Royale that they could not play their live acoustic show in the spot they had intended to play it at. Instead, the large group of fans was led with the band to an audio of their own music playing through a packed out King’s Cross Station, to a new spot where Palaye Royale could perform in front of the train station itself.

The short walk from Universal Music to King’s Cross demonstrated the close-knit relationship that exists between Palaye Royale and their devoted fans.

Remington Leith, Emerson Barrett and Sebastian Danzig were walking surrounded by fans, chatting with them, taking pictures, and it looked like they were having an amazing time.

The rousing cheers of the fans once the band started playing their first song turned more than a few heads in front of King’s Cross station.

Palaye Royale started their acoustic set with ‘Death or Glory’. Remington’s energy is the same, whether he’s singing in a big venue like the Wembley Arena or the street in front of a train station. His powerful voice electrified the audience that was positively buzzing with excitement. 

Emerson used a guitar case as a makeshift drumkit, mouthing along to the lyrics of the songs and grinning widely. 

Sebastian moved along the pavement playing his guitar as if he was on stage. 

Next followed ‘No Love in LA’ and Palaye Royale’s newest single ‘Lost in Translation’. The fans were singing along at the top of their voices, as if they were already at next year’s show in Wembley Arena. There was a great sense of community, with the band repeatedly greeting fans as if they were meeting old friends or dear family members.

The set ended with ‘Mr. Doctor Man’, before the band took more photos with their fans. The short set transported everyone from the busy streets of Central London to a concert venue for the afternoon and it generated an even greater enthusiasm for the upcoming tour. If this acoustic gig was anything to go by, Palaye Royale’s upcoming tour is going to be incredible.

We were lucky enough to have an intimate chat with the band ahead of the chaos.

PALAYE ROYALE INTERVIEW

 

Hi again and nice to meet you. How are you?

Emerson: Hello, nice to meet you.

Remington: Great to meet you. Thank you so much for having us.

Emerson: Well nice, innit?

Let’s start with your new single ‘Lost in Translation’, which sounds really cool and was really exciting to hear. My favourite album of yours so far is ‘Fever Dream’ and it kind of has the same vibe, so I’m really excited about it.

Emerson & Remington: Thank you.
Emerson: It’s made from the same cloth.

I think you hinted at it already but what can we expect from the new album? This song is really upbeat, so is it gonna be more upbeat in general?

Remington: It’s…no. It’s very different, because it takes so many twists and turns and that’s what I love because I hate being pigeonholed into one genre and y’know I think we’re just so much more than just a one genre band, so that’s why I think we’ve always described ourselves as like rock art. ‘Cause that’s what it is you know, it’s a little bit of everything and it really does go heavier, it’s got poppier, it goes more ballad-y, it goes more acoustic, so it really does have everything, there’s not one specific genre in this.

(Sebastian comes in a little late, so Emerson tells him he’s ‘ruining the interview’. Sebastian apologises and introduces himself. Emerson tells him, he ‘came in like a monster truck’.)

Can you say a little bit more about the inspiration behind the album, how it came about? How you went about recording it as well?

Remington: There’s so many different inspirations behind it but I think…

Emerson: …Architecturally we started in a windmill…(Remington interrupts him)

Remington: I don’t think anyone would ever ask what’s architecturally your inspiration.

Emerson: I don’t care. Architecturally, it’s a windmill.

Sebastian: We started it at…The first house in San Diego that was sick. It was called the ten-million dollar home on AirBnB, so we were like ‘We have to book that!’

Remington: That was sick!

Emerson: That was sick. It was a mid-century modern half-dome shape, so when you’re architecturally dealing in circles, it’s perfect.

Remington: It’s funny because you don’t really intend on starting with the inspiration, it just kinda comes out of nowhere and then you kind of can hear some of the influencesthroughout it. So we never sat down and said okay let’s make it sound a little bit more like Bowie or let’s make it sound more you know rock-leaning. We just started writing and those were the inspirations that we just kept with us because it was the stuff that we grew up on, so it just kinda natuarally formed that way.

Sebastian: I think the relationship that we have with Chris Greatti, who produced the ‘Fever Dream’ album, over the years he’s been through so much with us, he’s been to weddings, he’s been there for us throughout all the stuff with our mum, he’s just like our brother essentially now.

Remington: He knows us.

Sebastian: Yes, he knows us, so when working with him, it makes it such a safe place that he wants to hear what all of us have to say. A lot of producers love Remington, being the lead singer, so they always want the lead singer but he looks at us as a whole and a unit, and I think that’s what makes Palaye Royale Palaye Royale, you know. Remington’s incredible by himself, I’m great by myself, Emerson’s great by himself but it’s like together, that’s the magic and he really shines that and I think that’s what allowed us to do a great body of work.

Remington: Yeah. So when you feel incredibly comfortable just to be yourself I think that is the most amazing thing for creating but also just to push the boundaries and do stuff you haven’t done before, you know. ‘Cause we could’ve easily played it safe and I think…

Sebastian: We had fun though making it, that’s the difference.

Remington: … ‘cause there is one track, ‘Confidant’ that I was like, fuck, this is like nothing we’ve ever made before but we had so much fun making it, there was no boundaries, we’re fucking giggling in the background but I think it kinda comes across like that. It’s funny, we showed it to a lot of people like that’s the song of the album and I was like of course, we wrote it in five minutes. (He laughs)

That’s how it goes sometimes. And actually, I liked the architecture part as well, because my brother’s an architect.

Emerson: Hell yeah, thank you for the appreciation.

Remington: Damn it, now I’m never gonna live that down!

Sorry!

Sebastian: Can we get Architecture Digest?

Emerson: Get Norman Foster in the mix. Love that architect!

What’s the weirdest rumour about your band that you wish that was true?

Sebastian: That I wish that was true? That’s a hard one…

Remington: Oh, I always get like…it will say my net worth online and it will be like ‘Oh, Remington’s worth twelve million’ and I was like, ‘Where the fuck is it?!’ I was like ‘I would love the twelve million!’

Sebastian: (laughs) That’s good.

Emerson: …like twenty million. Maybe twenty dollars.

Remington: I was like Jesus Christ, sometimes McDonald’s gets a little expensive, like 15 bucks for a cheeseburger?!

Sebastian: …or that we’re British. That’s always the thing, everyone thinks and when we open our mouth, they’re like ‘We thought you’d be British.

Remington: Or he’s (Sebastian) like the son of Glenn Danzig, I always love that one.

Sebastian: Oh yeah, until he…when we met him at the CEA party and remember he was like ‘You’re the other Danzig’. (They laugh) And I was like ‘Yeah.’

Remington: He goes ‘Yes Sir.’

Can I just ask a quick question to Emerson to wrap it up? You did really cool stuff this year: your exhibition at Somerset House and I loved the idea that you exhibited your art in phone booths near the British Museum, and in Prague as well. So are you planning to do similar stuff in the future?

Emerson: Thank you, thank you. Yeah, I think at the bar at Chateau Denmark I’m doing something, but I’m planning for next year… there’s a church in Amsterdam that we’re talking about doing a full exhibition in that church, so that would be a very lovely thing to do. And then London as well, I think I’m gonna do another Somerset House show. But that’ll all be next year. I think now, for the rest of the year it’s been nice. We did our touring for the year, couple of years, and we just finished this last one, which was one hell of a thing. But we go on world tour in March, so I’m kind of just taking this time to make my next editions of artwork. Thank you.

Thanks a lot for the interview.

Remington: Thank you so much for being here.

PRE-ORDER AMSTERDAMAGE HERE

Tour Tickets

Anyone pre-ordering Amsterdamage from the Sumerian store between 1pm on Friday and 5pm on Monday (UK time) will be able to get tour ticket presale access from Tuesday. Tour tickets go on general sale 10am (local time) on Friday 9th October.

Palaye Royale 2027 tour dates

  • 09 March – Warsaw, Poland – COS Torwar
  • 11 March – Prague, Czechia – Forum Karlin
  • 12 March – Munich, Germany – Tonhalle
  • 13 March – Munich, Germany – Kesselhaus
  • 15 March – Milan, Italy – Fabrique
  • 16 March – Zurich, Switzerland – Volkshaus
  • 17 March – Vienna, Austria – Gasometer
  • 18 March – Berlin, Germany – Huxleys
  • 21 March – Copenhagen, Denmark – VEGA
  • 23 March – Oslo, Norway – Sentrum Scene
  • 24 March – Stockholm, Sweden – Borsen Live
  • 26 March – Luxembourg, Luxembourg – Den Atelier
  • 28 March – Brussels, Belgium – AB
  • 30 March – Manchester, UK – Apollo
  • 31 March – Glasgow, UK – Academy
  • 01 April – Dublin, IE – 3Olympia
  • 03 April – London, UK – OVO Arena Wembley
  • 05 April – Madrid, Spain – La Riviera
  • 06 April – Lisbon, Portugal – LAV
  • 08 April – Paris, France – Olympia
  • 09 April – Tilburg, Netherlands – 013 Poppodium
  • 10 April – Cologne, Germany – Palladium
  • 18 April – Dallas, TX – The Bomb Factory
  • 20 April – Orlando, FL – The Beacham
  • 21 April – Atlanta, GA – The Eastern
  • 24 April – Brooklyn, NY – Brooklyn Steel
  • 26 April – Boston, MA – Paradise Rock Club
  • 28 April – Toronto, ON – Massey Hall
  • 01 May – Chicago, IL – House of Blues
  • 05 May – Denver, CO – Ogden Theatre
  • 06 May – Salt Lake City, UT – The Depot
  • 10 May – Seattle, WA – Neptune Theatre
  • 12 May – San Francisco, CA – The Castro
  • 13 May – Los Angeles, CA – El Rey
  • 14 May – Los Angeles, CA – The Roxy
  • 15 May – Los Angeles, CA – The Viper Room
  • 16 May – Los Angeles, CA – The Fonda Theatre

Review, Interview and Photography by Lea Brost for The Songbird HQ