She is twenty and something, and everything feels strange, sings the Flemish singer Pommelien Thijs in a subdued folky opening. She sits in a short, cloudy corset dress on her catwalk in the AFAS Live and keeps it small and introspective at first in ‘Ben Je Klaar’. “Cognitive dissonance is coming to give me a right hand,” she sings. “The imprint of you is almost gone now.” But then heavy punk guitars enter: the inner monologue turns into a confrontation with the person with whom the relationship is falling apart. When frustration and anger gain the upper hand, ‘Ben Je Klaar’ explodes into a pounding dance climax. The room jumps.
Anyone who thought that Pommelien Thijs was still in the ‘promise phase’ will be mercilessly overtaken by reality in a sold-out AFAS Live in Amsterdam. The Flemish, also known as an actress and an avid clothing designer, is no longer a young talent who is carefully exploring the pop market in the Low Countries. With two albums she has become a Belgian superstar who is entering her own era, somewhere between Olivia Rodrigo in her fiercest moments with youthful drive, melodies that get stuck in your head, and the language art of Froukje.
From the opening track ‘Wie We Morgen zijn’, Thijs and her band – two guitarists are emphatically in the foreground – put on a roaring show lasting almost two hours. The tree from her album cover is on stage – she designed and made it herself.
Disarming honesty
Her doll has teeth. With clear vocal lines, her soft accent in accurate lyrics with certainly not light-hearted use of words such as ‘polarization’ or ‘paradox’, she always makes people look up. In ‘Nobody Is Special’ she profiles our existence with disarming honesty. In ‘Present Time’ she sings socially critical about a generation that has little interest in politics but needs perspective. Through the video wall she makes the call: ‘No genocide in our present time’. The singer previously stated that the pop audience should not be underestimated. And she is right: her young Dutch and Belgian fans sing along to everything “sickly loud”.
Pommelien Thijs, here at a performance in the Main Hall of Paradiso.
Photo SIMON LENSKENS/ ANP
Her Dutch advance ran from Tolhuistuin via Paradiso to AFAS Live, and the Ziggo Dome is planned for November. The connection with the Netherlands has also been strengthened through collaborations with Wies frontwoman Jeanne Rouwendaal and Meau, who also participates during this show (‘Ik Zit Vast’). At the beginning of February, Thijs won several Flemish music awards (MIAs) for her album Hasslewhere her live performance was especially impressive. This growth and expressiveness is also visible in the AFAS Live. Pommelien Thijs (Kessel, 2001) concludes with a smile: “These are fun, fast times.” And disarmingly modest: “Thank you for coming. Even on a Friday evening.”
Through topics of relational uncertainty, the social pressure of modern youth life and inner vulnerability, she strings together energetic tracks – attractive with catchy pop-punk choruses that burst out. In ‘Erop Of Eronder’ the audience produces rhythmic ‘Queen claps’, while songs such as ‘Hypothetisch’ and ‘Authentiek’ emphasize its heavier sound. The fact that she has strengthened her sound with rock guitars works well, just like pop women like Chappell Roan or Olivia Rodrigo, she looks for edges. Energetic pop punk choruses alternate with smaller moments, such as the beautiful ‘Call Me Als Je Bent Thuis’ and the duet ‘Tornado’ with her sister.
The encore confirms her strength: ‘Cassandra’ silences everyone, the rhythmic drive of ‘Atlas’ hits home. A versatile show, full of talent and stage experience. Pommelien Thijs is ready for the big work.
