The crowd at The Lower Third roared from the first song. KhakiKid had a room fully invested in the music, and it created the kind of atmosphere that makes live music memorable.
Situated on Denmark Street, The Lower Third is an intimate venue that suits emerging artists. The closeness between the stage and audience makes everything feel personal, and on this night, it felt less like a room full of spectators and more like a community brought together by music.
KhakiKid made the most of that connection. Down to earth, brutally honest and confident on stage, he moved between high-energy performances and moments of genuine vulnerability. His appreciation for the people supporting him was clear. At one point, he thanked the crowd for filling the venue without the help of a guest list. It was a small but telling moment: he clearly understood what it meant to have so many people there for his music.
That respect extended to his band, too. KhakiKid gave them their due rather than making the show solely about himself, and the collaboration carried through the evening.
The night wasn’t all energy, though. During “Boy Racer”, the atmosphere softened and the crowd responded warmly to the song’s emotional side. KhakiKid also spoke openly about mental health, his own experiences and what it means to grow up as a man. That openness added another layer to the performance and brought the audience even closer.
That honesty carried into “Must Be a Man”, an unreleased track he said would be out in the coming weeks. Even though the song was new to them, the crowd moved along as if they already knew it. Then came “Date Nite”. The entire room erupted. Everyone seemed to know the words, singing together as arms swayed overhead. The crowd became just as much a part of the performance as the artist on stage. The energy peaked again during “Who’s That Girl”, and the audience sang along once more.
Tamzene, a close friend of KhakiKid’s, made a special appearance, and the two performed together. Other audience members joined them on stage, blurring the line between performer and crowd. By the end of the night, the energy had spilled into a mosh pit.
Fans I spoke to afterwards called the mosh pit their favourite moment. Several had followed KhakiKid for some time and were amazed by what they had just witnessed. Their enthusiasm reflected what had been clear throughout the set: this was an audience with real investment in the artist, not a passing interest.
The encore brought another surprise: an improvised, dance-driven electronic beat that got the room moving again before KhakiKid returned for one final song. It was a fitting end to a night that moved between emotional honesty and collective release. One thing that stood out was how present the crowd seemed. When phones appeared, people usually recorded a short clip before putting them away again. Most of the audience seemed more interested in experiencing the music than watching it through a screen.
KhakiKid can get a room moving one minute and draw it into a more vulnerable conversation the next, all while showing appreciation for the people around him.
At The Lower Third, the connection between artist and audience wasn’t an added bonus. It was the whole point.
“OUT MY HOUSE” is out now, follow via @khakikid
Words and photography Peoples Perceptions
