Write-Up & Photos: Bailey Guinigundo
(Kia Center, Orlando FL) Before Benson Boone took the stage for his sold-out American Hearts Tour stop in Orlando, the evening was given a soulful, nostalgic lift by opening act Elliot James Reay, a rising artist from Manchester, England. With a sound rooted in the golden era of rock ‘n’ roll, Reay delivered a set that felt both timeless and refreshing, like stepping into a jukebox dream of the 1950s and 60s, yet with a sincerity that connected deeply with today’s audience.
From the opening number “Boy in Love” through his heartfelt closer “Who Knew Dancing Was a Sin,” Reay’s 10-song set was a journey through influences that he openly admitted shaped him: Elvis Presley, Roy Orbison, and the swinging ballads of simpler musical times. His third song, “Sweetness I,” one of his debut LP tracks, showcased this beautifully: a lilting swing ballad that let his warm vocal tone glide over clean guitar lines, free of the overproduced gloss that often dominates modern pop.
Highlights included his rendition of “Unchained Melody,” where he paused to share with the audience that Orlando marked his last stop on the tour. The song carried a bittersweet weight, his voice aching with emotion, as if he were channeling both the timeless ballad and his own sense of farewell. “Guitar Man,” a playful jam session, brought levity and honesty. Reay laughed as he told the crowd, “We’re going to get something wrong, but that’s what makes it fun. That’s what makes it human.” The spontaneity of that moment made it one of the most charming points of the night.
In “Daydreaming,” Reay leaned into his admiration for Roy Orbison, hitting soaring notes with ease, while “Mr. E” dipped into a country-tinged groove, expanding his sonic palette. His debut single “I Think They Call This Love” drew cheers from fans who seemed eager to embrace his old-school-meets-new sincerity.
Closing with “Who Knew Dancing Was a Sin,” Reay capped off his set in the most personal way possible: asking permission from the crowd to take a selfie with them, explaining he wanted to remember this moment for the rest of his life. The gesture summed up his entire performance: intimate, genuine, and marked by a rare humility.
What set Elliot James Reay apart was not only his throwback rockabilly sound—so rare in today’s musical landscape, but also his heart. You could sense the weight of the moment as he walked offstage, eyes scanning the crowd, trying to absorb every last second. It wasn’t just an opening act; it was a love letter to music’s past, performed with a modern vulnerability that left a lasting impression.
(Kia Center, Orlando FL) Before Benson Boone took the stage for his sold-out American Hearts Tour stop in Orlando, the evening was given a soulful, nostalgic lift by opening act Elliot James Reay, a rising artist from Manchester, England. With a sound rooted in the golden era of rock ‘n’ roll, Reay delivered a set that felt both timeless and refreshing, like stepping into a jukebox dream of the 1950s and 60s, yet with a sincerity that connected deeply with today’s audience.
From the opening number “Boy in Love” through his heartfelt closer “Who Knew Dancing Was a Sin,” Reay’s 10-song set was a journey through influences that he openly admitted shaped him: Elvis Presley, Roy Orbison, and the swinging ballads of simpler musical times. His third song, “Sweetness I,” one of his debut LP tracks, showcased this beautifully: a lilting swing ballad that let his warm vocal tone glide over clean guitar lines, free of the overproduced gloss that often dominates modern pop.
Highlights included his rendition of “Unchained Melody,” where he paused to share with the audience that Orlando marked his last stop on the tour. The song carried a bittersweet weight, his voice aching with emotion, as if he were channeling both the timeless ballad and his own sense of farewell. “Guitar Man,” a playful jam session, brought levity and honesty. Reay laughed as he told the crowd, “We’re going to get something wrong, but that’s what makes it fun. That’s what makes it human.” The spontaneity of that moment made it one of the most charming points of the night.
In “Daydreaming,” Reay leaned into his admiration for Roy Orbison, hitting soaring notes with ease, while “Mr. E” dipped into a country-tinged groove, expanding his sonic palette. His debut single “I Think They Call This Love” drew cheers from fans who seemed eager to embrace his old-school-meets-new sincerity.
Closing with “Who Knew Dancing Was a Sin,” Reay capped off his set in the most personal way possible: asking permission from the crowd to take a selfie with them, explaining he wanted to remember this moment for the rest of his life. The gesture summed up his entire performance: intimate, genuine, and marked by a rare humility.
What set Elliot James Reay apart was not only his throwback rockabilly sound—so rare in today’s musical landscape, but also his heart. You could sense the weight of the moment as he walked offstage, eyes scanning the crowd, trying to absorb every last second. It wasn’t just an opening act; it was a love letter to music’s past, performed with a modern vulnerability that left a lasting impression.
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