Paris Paloma has just announced her highly anticipated headline show in 3Olympia Theatre, Dublin on Sunday 8th June 2025.
Tickets priced from €31.40 including booking fee & €1.50 restoration levy on sale now with Ticketmaster Ireland
The Derbyshire-born musician gave the world “labour” in 2023. It was the first song she’d ever fully recorded in a proper studio – early releases like “narcissus” in 2020, 2021 EP cemeteries and socials, and 2023’s “notre dame” were produced in her own bedroom or others’. But early clips she posted with stolen lyrics of “labour” to TikTok had already garnered a curious audience. Its journal-like lyricism and incisive strain of compelling, dark folk-pop skewered the knots of women’s emotional labour, and it immediately became a rallying cry worldwide upon official release.
As she watched friends skim stones on Brighton Beach, Paris Paloma felt energy shift. Like heat returning to numb fingertips, life felt like it was taking shape again after a long period of personal trauma. With a diaphanous sheath of lyrics in mind, she went to Bergen, Norway to work on new music. On the three days of the year that it didn’t rain in Europe’s wettest city, among the silvery lakes and mountain peaks, life grew ever brighter. “the warmth” was formed.
“I ate up all the light, it shone through my teeth, I tasted sunbeams emanating from me… it can’t hurt me… now the warmth is returning,” she sings in unfurling harmonies, spectral with full-bodied pop, a determined percussive march building like a personal artillery. This emotional arc would be core to Paris Paloma’s debut album, cacophony.
Her track ‘labour’ has broken over 180 million streams on Spotify, cracked the Official UK Singles Chart and US Billboard Chart, and soundtracked tens of thousands of TikToks. It spurred on sold-out shows around the UK, and Paris, armed with a compact slew of songs, travelled to the US and Australia for the festival circuit.“I matured because of ‘labour’,” Paris explains. “As a young artist you’re both protected and limited – you’re putting songs that are so intimate into a void. It’s made me more considerate about how vulnerable these songs are going to be.”
Such vulnerability can be difficult to confront, and all the more to articulate as art, “but I feel very held by my listeners,” Paris says. This symbiotic care between artist and listener is innate within Paris’s devoted fanbase. She’s cultivated a community both online and off: on TikTok, her 960K followers send her videos (of thoughts, song snippets, and tour moments) into six-figure views. Fan-made art and videos analysing her lyrics span social media. She alsocrowdsourced the voices of hundreds of fans for a new version of “labour” in “labour (the cacophony)”. These are roots laid deep, as Paris gains wider recognition from NME to Billboard, as YouTube’s Trending Artist on the Rise and a Breakthrough Artist to Watch 2024 by Amazon. She also recently performed an intimate and powerful version of “labour” on Later... with Jools Holland.
“I love the feral, feminine aspects of my music,” says Paris. “Being unapologetically vulnerable feels wild – it's breaking down boundaries, a return to something primal. “bones on the beach” is a “turning point”. “I wrote it at a time when I was coming out of survivalmode,” she explains. “It starts from exhaustion and wanting the world to stop asking things of you. And as it progresses, there’s a realisation – you will find peace in life when you start living and taking care of yourself.”
Three album tracks – “escape pod”, “last woman on earth”, “bones on the beach” – are her ‘apocalypse trio’. “When it felt like my world was ending,” she says. “last woman on earth” is an emotive, upward contour, about coping with and confronting the ways her voice has been taken away. She leans on dark metaphors to find light. “Women’s wishes for what happens after they die have been consistently dishonoured: from Anne Boleyn to Marilyn Monroe. It's the ultimate show of disrespect,” she says. “It becomes an uplifting point – it shows my growing belief in my own agency.” “triassic love song” is an aching ode to external love returning to her life, imagery inspired by an archaeological discovery of two fossils of different animal species intertwined. “It’s a tender narrative marker. Love was becoming a healing force, but I was conscious of an end being nigh.”
She matches this with expansive productions – dramatic instrumentation, folk sensibilities, pop at its most cavernous. It makes sense for someone who first picked up a guitar at age 13,enamoured by Ed Sheeran, Bon Iver, and the eclectic sounds of her upbringing from the Motown and jazz her mother played. “my mind (now)” was especially fun to build. Paris recalls: “I didn’t want any structure that could be a ‘life raft’. It has to almost overwhelm you, then pull back. You're a tiny raft in the ocean, you're surely going to go under – but you don't.”After building a song out on vocals and guitar, her notes app and songbook, she makes a playlist to convey the sonic palette. “as good a reason” was inspired by Alt-J and early Hozier; “labour” from Glass Animals and Katarina Gimon’s compositions. “I don't know what genre I am. I don’t give it much thought. The second I do, I'll start limiting myself.”
Live performance is vital to her artistry, and Paris has sold out four headline London shows. At every gig, her lyrics are sung directly back at her. “One of the reasons you write is to feel heard,” she says. “It's an audience that wants to know more.” The intimacy of the music remains steadfast as stages get bigger. This summer, she supported Stevie Nicks in London at BSTHyde Park, embarked on festival season, including shows at Glastonbury and Reading Festival, and sold-out UK, US and European tours. She is set to grace stages again in 2024 and 2025 for her second UK and US tours.
cacophony is “a stage backdrop”, against which all future music will be positioned. “I’ve chronically released singles and being quite nomadic. I’m excited to set the scene for my world.” She’s already working on the threads of her next album, a Paris Paloma tapestry in motion.
