Cult-sad girl Lizzy McAlpine captivated audiences at The Eventim Apollo in Hammersmith on Friday night, displaying nothing but quality and demonstrating exactly why it is important for touring artists to perform in ways that work for them.
As her band entered the stage to a warm reception, it was immediately clear that no corners had been cut in the creation of this tour. The stage, which was set with an array of instruments, transformed into an intimate, studio-like setup. Breaking the fourth wall, she invited the audience into an atmosphere steeped in authenticity, fully at ease and in her element. “I wanted it to feel like me,” the twenty-five-year-old singer-songwriter said with a stumble, her voice honest and unfiltered.
In an industry where artists are often expected to deliver high-end, back-to-back productions with little respite, McAlpine is redefining the live experience, inviting fans into what feels like a private recording session with her band. Bathed in the warm glow of table lamps, she performs most of her third studio album, Older, along with fan favourites from her sophomore release, Five Seconds Flat.
It was refreshing to see a live performance where each musician was spotlighted, this tour highlighted McAlpine’s production choices just as much as her vocal ones, use of the lap steel stick and Wurlitzer on stage added another dimension to an already very well crafted performance. Confessional, acoustic music, especially when created by young female artists, is too often unfairly dismissed as trivial or lacking depth. Watching a group of musicians so committed to the music, as fully immersed in each song as Lizzy herself, felt both powerful and validating.
Opening with The Elevator followed by Come Down Soon, McAlpine’s clear, resonant vocals filled the venue from the first note. She sat comfortably on centre stage in just a jumper and jeans. She made it clear that she doesn’t need the excessive frills that usually accompany tours of this scale. She let out a playful giggle as she changed the lyrics in All Falls Down to “twenty-five and a sold-out show!” prompting the audience to join in, before expressing her gratitude to everyone for being there.
Into the main body of the show Doomsday struck as a crowd favourite simply from the volume echoing on the arena. The highlight of the evening for me was Drunk, Running, sang sat at the piano with Taylor Mckall. The introduction had been strung out giving it this soulful intensity. The hook, “Say I love you then drink it backwards” rang throughout the venue with the crowd entirely still, hooked by the swirling piano.
Best known for her TikTok success with Ceilings, it is clear McAlpine has a complex relationship with her own virality, distancing herself from her second studio album, audiences seem to appreciate this sentiment. It allows them to bypass the often chaotic behaviour typical of internet-driven crowds. Instead, she delivers a show rooted in her “less is more” philosophy. Openly committed to creating an experience that’s equally fulfilling for both artist and audience.
Allowing her to tailor her set as she pleases, playing a cover, usually a Joni Mitchell song, but changing it up with Celebrate Me Home by Kenny Loggins, an unusual choice for an October evening. The song beautifully showcased her vocal range, carrying a Midwestern swing. It’s a style that complements her voice well, and one I hope she explores further in her music, also teasing that the band had recorded a cover of the song, so there is a possible Christmas release on its way.
The titular track Older, March, and then Chemtrails followed, all songs reflecting on her parents, showcasing the emotional weight these songs carry for her. She spoke about the process of writing Older, how it was the only track on the original record that the band wrote together in around twenty minutes and used the raw recording because it didn’t need anything else. It is clear Older encapsulates the essence of this entire album, the rich simplicity that echoes through the experience of this tour.
For the encore McAlpine added three songs from the deluxe edition of her album Older (and Wiser), which was followed by a surprise song, …What Are We? from her 2021 EP When The World Stopped Moving. I believe this is the first time she has played this song live. That didn’t affect her performance though, the notion of just her and a guitar really carried throughout the encore, cementing that she really has something special going here and adding anything will only improve these songs that are already carrying themselves.
Closing with Ceilings, the atmosphere was electric, as if the audience was collectively holding their breath. The intro was nearly unrecognisable, reflecting her evolution as an artist. She had mentioned feeling distant from the person who wrote the original hit single and had adapted the song to align with her new sound. The result was grand yet measured, the crowd was supporting her and she recognised that.
I have nothing but praise for this show, it harboured authenticity and that shone throughout, taking the harsh lights away left a warm hue, one that exuded through the venue and saw the crowd home.
Review by Olivia Hannant (@olivia.hannant)
Leave a Reply