'the art of loving live' testifies to olivia dean's sincerity

the brit school alum returned to the o2
for a spectacular four-night run

olivia dean’s rise over the past year has been remarkable, driven by the release of her sophomore studio album, The Art of Loving: The chart-topping record quickly became this decade’s longest-running number one album by a british female artist, holding the top spot for seven consecutive weeks; Her single ‘Man I Need’ has amassed over a billion streams on Spotify; and she was awarded Best New Artist at this year’s Grammys.

Dean presents herself with an effortless elegance, defined by her distinctive style and an ethos centred on kindness and connection. When I arrived at the O2 on the second night of the art of loving live run in london, the atmosphere was immediately striking. It was a sea of polka dots and beautifully dressed women, all embracing the occasion. Advertisements for Burberry Her, for which Dean serves as ambassador, were everywhere. The mood was buoyant, with groups of friends linking arms and skipping into the arena, ready to soak up the energy.

While the audience was largely female, there were a handful of reluctant boyfriends in attendance, some of whom looked thoroughly unimpressed. The man next to me remained completely deadpan throughout, even as my friend and I danced without restraint.

Support act Jalen Ngonda proved a revelation. His soaring falsetto and soulful delivery were captivating, carrying a timeless quality that felt almost transportive. I found myself searching for tickets to his own shows before his set had even finished.

When Olivia Dean finally took to the stage, she did so to the sound of birdsong, her silhouette emerging before she stepped fully into view. Opening with a simple “house rule” – to enjoy ourselves – she then set the tone for the evening. From my seat high up at the side, I did find myself wishing the side screens had been in use more consistently, as the central screen was harder to see from that angle. Still, the stripped-back staging, complete with a corded microphone and vintage-inspired styling, felt intentional, echoing the old-school aesthetic she was clearly channelling.

Notably, there were very few phones raised in the air. The audience seemed fully immersed, a rarity in modern concert culture and a testament to Dean’s ability to hold attention.

Vocally, she was exceptional. The setlist spanned her catalogue, with only a few omissions. ‘UFO’ was a standout moment, as the audience lit up the arena with their phone torches, creating an almost cosmic atmosphere. Time and again, my friend and I found ourselves simply leaning back, eyes closed, taking in the richness of her voice.

Her multiple outfit changes were equally impressive, each look carefully considered and effortlessly timeless. There were hints of Bob Mackie’s influence, evoking a 1960s and 70s glamour that complemented the show’s overall aesthetic.

One of the most affecting elements of the performance was Dean’s willingness to pause and speak about each song. She shared reflections on love, describing it as an act of wanting another person to thrive, and emphasised that love is never wasted, regardless of the outcome. It added a deeper emotional resonance to the music, particularly when paired with lyrics like “love is never wasted when it’s shared.”

The energy in the room was undeniable, filled with warmth and connection. When she performed ‘It Isn’t Perfect But It Might Be’ from Bridget Jones: Mad About the Boy, the reaction was electric. My friend and I completely lost ourselves in the moment, dancing with such abandon it felt borderline hazardous.

By the end of the night, it was difficult to find fault. It was a joyful, beautifully curated performance from an artist who feels destined for even greater things.

Olivia Dean exudes both talent and sincerity, and this show was a clear reflection of both.