Dublin-based band Inhaler are in the midst of a quick warm-up tour ahead of their upcoming release cycle; at the conclusion of their main set at NYC’s Pier 17 this past Friday, a graphic displaying, simply, 10/29, appeared on the screens on either side of the stage, signifying that this new era is mere days from its starting point.

Stream: ‘Cuts & Bruises’ – Inhaler

On what was, perhaps, one of the final truly comfortable nights for a northeast outdoor concert of the year with temperatures in the low ’60s, and with midtown NYC as the backdrop, Inhaler, the boisterous Irish rock band, displayed their prowess as one of the heaviest hitters in the contemporary indie rock scene.

A sold-out affair, the four-piece ran through the highlights of their two past records, It Won’t Always Be Like This (2021), and Cuts & Bruises (2023), as well as select unreleased tunes slotted for the anticipated new project.

Cuts & Bruises - Inhaler — Inhaler’s second studio album, ‘Cuts & Bruises,’ released February 2023

They were accompanied by opening act benches of Southern California. benches, on at 7:15ish, fought an uphill battle from the jump. Likely too close, in both visual and musical aesthetic, to Inhaler to create the desired degree of separation from opener-headliner in the eyes of the audience, and, quite frankly, not as seasoned, benches set, while plausibly solid, was not outstanding.

Even so, they are undoubtedly ones to watch. Songs like “It Doesn’t Have To Change,” despite not quite reaching the levels of audaciousness it has the potential to, “LA Friends,” and closer “Violent” established benches as yet another byproduct of the current rock revivalist movement. “Violent,” unlike, “IDHTC,” does, in, fact, pack the necessary punch, though its studio version would benefit from another minute in length.

After a break, Inhaler took the stage at 8:34 p.m. Opening with “These Are The Days,” inhaler, made up of Elijah Hewson (vocals, guitar), Robert Keating (bass), Josh Jenkinson (guitar), and Ryan McMahon (drums), asserted dominance from the first note. Hewson was, quite literally, born with this type of fire power in his veins, and, at this stage, it is executed poignantly and truthfully. “These Are The Days” is monstrous, and could close any show played by any other band. But not this band.

Throughout this tune, and others including “Totally,” “Who’s Your Money On? (Plastic House),” unreleased tune “Open Wide,” and “Just To Keep You Satisfied,” Hewson comfortably sits up in his mid-upper chest voice, stretching towards the thin line between vocal passages, but does so without needless overcompensation.

He occasionally runs into trouble, swiftly taking a moment to reset his vocal tract, but is precise and brisk in doing so. He is also cognizant of the need to make use of his full body whilst performing, to reduce the strain on solely his vocal fabric. Aware of the toll routinely performing these songs may have on him physically, his primal sense of athleticism and survival kicks in.

He also displays correct traits of showmanship, appropriately backing off the mic during a more visceral screlt note near the end of “Totally.” Even as he is distant from the center of the console, mind you, in an outdoor space for which there is no chance for natural reverberation, the sound is still present.

Keating, Jenkinson, and McMahon more than hold up their end of the bargain, matching and amplifying Hewson’s energy from start to finish. Scant excess movement… little to no theatrics, just a rock n’ roll show. Collective highlights of musicianship included the latter half of “My King Will Be Kind,” as well as “My Honest Face” and the entirety of “Dublin In Ecstasy.”

The sole moment of composure of the evening was that of new song, “Your House,” set for release in the coming days. With a discernable classic gospel-tinge and set at a more deliberate pacing than their typical material, the band is seeking to explore new fronts… new musical territory on their upcoming record:

Oh love, I’m going nowhere you won’t find me
Maybe I sold love for what it’s worth on the street
Said, oh love, there ain’t a sharp enough knife
to cut me out of your life
Who’s going to your house tonight?

Small pockets of fans, particularly the stans at the barricade, a squad positioned stage right towards the back of the section, and another on the opposite side and slightly closer to the stage, picked up the slack for the rest of the ‘socially driven’ New York crowd throughout the night, but the rest followed suit in the latter half of the set. “Dublin In Ecstasy” and “It Won’t Always Be Like This,” both performed brilliantly, were the clear fan favorites, and resulted in the long-awaited moments of release. However, one song stood above the rest.

Closing tune “My Honest Face,” reminiscent, in many ways, of Kings of Leon’s “Sex on Fire,” seemed to be, even more so than “It Won’t Always Be Like This,” the strongest connective tissue between the band and their fans. As if, even after 85 minutes of consistent bangers, the collective exhale of the crowd was designed to occur at this moment. Played for nearly six minutes, the band clung onto this connected tissue as well, refusing to relinquish their grip until they could no longer hold on.

The next time Inhaler makes a stop in New York, they very well may be stepping onto an esteemed stage such as Radio City Music Hall. They have certainly earned that right.

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