Candidly Concerting #4: When Astrid S. Stole The Show

Despite my charming habit of getting to concerts early enough to stand three rows back from center stage — meaning I stand in line for an hour prior — I usually hate the opening acts. Vehemently, aggressively hate. At best I tolerate them. When there are two opening acts, I become irritable and antsy. And while, yes, I occasionally walk away with a new song to listen to by an artist I would never have found on my own, I rarely become a converted fan.

When I bought tickets to see Zara Larsson feat. Astrid S., however, I knew it was going to be different.

While a decently solid fan of Larsson, I have been pushing Astrid S. onto unsuspecting friends for two years now. The Lauv remix of “Breathe” was a staple in my Summer 2017 playlist (a time when I was also avidly consuming Larsson’s So Good album), and her new music constantly makes the rotation for whatever I’m currently listening to. So, yes, I may have been a bit biased when I was approaching the concert. But there was no way to anticipate the difference in authenticity of the two artists who performed that night.

Astrid S. performed a small selection of her work, as openers usually do, but her energy levels were high and authentic (video above). The crowd fed into it with an increasing pulse and hunger. When she wasn’t singing or dancing around the stage, Astrid S. was enthusiastically screaming, “NEW YORK!!!” with pure glee at a sold out Irving Plaza. While she might not have been headlining, she might as well have been.

With a heavily warmed up crowd, Zara Larsson took the stage for a perfectly polished and highly orchestrated set, with back-up dancers and projections of wildlife scenery. In the end, after a genuine and entertaining set from Astrid S., Larsson’s vocals — while her runs were more impressive — could not overpower the fact that the rest of her production felt forced. There was nothing ad-libbed or personal about the performance, because that’s exactly what it was — performative.

I don’t like giving bad reviews, and it wasn’t that it was bad, it was just that one star shone brighter in the setting and the atmosphere of Irving Plaza. Larsson belonged in an arena with thousands of adoring fans, but in the smaller venue she felt out of place. Astrid S. fit the setting and the vibe like a glove. That being said, both are incredibly talented and I’m excited to see what the future holds for both of their careers, even if I hope that it takes them in two separate tour directions.

Candidly Concerting #3: lovelytheband

“Hey, Ma, I think this year the band made it.” Those were the last words that the frontman of lovelytheband, Mitchy Collins, managed to say before he turned his back on a cheering audience with a reddening face to wipe his eyes. His bandmates, Jordan Greenwald and Sam Price, both stepped away from their instruments and went to celebrate and comfort him. After all, they had just shared with the crowd that the sold out Irving Plaza in New York City in three days, a stage the members themselves had been to see Billboard greats like FallOut Boy, Ed Sheeran, and Macklemore. Now it was their turn.

I remember the first time I heard lovelytheband’s hit “broken” on the segment “Ear Poppin’ New Music” on SiriusXM’s Hits 1. I was driving to Ocean City, New Jersey with my mom, freshly returned from my first year in grad school in London and finding myself surprisingly at a loss with what to listen to on American radio while, as I like to call it, “driving with Wendy” thanks to my increasingly eclectic Spotify tastes. But if there’s one thing I can never resist, it’s the opportunity to hear new music. I did not, however, expect for my tastes to shift into high gear. I don’t even think the song ended before “broken” was added to my Spotify summer playlist. And when the album was released, it was added to my saved catalog.

It’s now been a year since that highway listen. The band has received decent notoriety, and well-deserved. Their sound is widely appealing, with an audience on Monday night’s concert ranging from families with musically woke middle schoolers to late thirties groups of music enthusiasts. Personally, I went alone, wanting to fully dance and geek out when they played “pity party” (I did) and nearly cry at the end of “maybe I’m afraid” (there were witnesses). And while the opening acts were decent (Jagwar Twin and Flora Cash), if at times muddy, there was no chance of anyone stealing lovelytheband’s thunder that weekday night at Irving Plaza. They owned that stage and fully earned the Live Nation backing that they’re receiving for their finding it hard to smile tour.

I am a certified, cemented, rock-solid fan.

Candidly Concerting #1: LÉON feat. Morgan Saint at Irving Plaza

Candidly Concerting #1: LÉON feat. Morgan Saint at Irving Plaza

Last night, I attended Ones to Watch Presents: LÉON at Irving Plaza. I’ve been onto LÉON’s music since hearing “Surround Me” on The Bold Type in 2017 (yeah, I joined that band wagon), so I was quick on the Ticketmaster trigger when I found out she was doing a tour stop in New York City. I dragged my dear and yet non-fan friend Rebecca along with me to the Union Square venue, paid way too much for those requisite vodka soda, and pushed our way to three standing rows back from the barriers blockading the stage.

I was completely and unabashedly way to excited for this concert. LÉON’s sultry vocals and ballads that, in my opinion, can rival Adele any damn day of the week had been teasing me since I purchased the tickets on February 4th.

I was not, however, equally enthused in anticipation for seeing the opening act. Don’t get me wrong, I typically experience excitement with opening acts — the possibility of witnessing a star on the rise. But I had done my research and been put off by the striking appearance of Morgan Saint’s alt-pop rock (?) album covers and and the synth heavy sound.

I was wildly underestimating the power of a true performer.

While it was clear that Morgan Saint was the real deal from the first step on stage — undeniable from the GaGa command of the space and the swagger of a true musician (think Lorde) — it was the introduction and performance of the song “Glass Houses” that sold me. Morgan Saint started by asking the audience to raise their hands if they had ever had their heart broken. Then Morgan Saint said to keep our hands raised if we had ever broken our own heart. My right hand remained over my head until the first chord rang out.

If I told you I was broken, would you love me still?
Shattered hearts, crossed stars, never saw myself…

Won’t you love me now? F*cking love me now
It’s all broken, unspoken
Just breathe me in, taste me on your lips
You can let me go, if you need to let me go

“Glass Houses,” Morgan Saint
Take a listen to this stripped down version.

There’s something incredibly powerful when a performer strips their experience bare and connects with an audience on a level of raw emotion. I don’t think Rebecca noticed but “Glass Houses” drove me to be misty-eyed. It permeated my skin and made my blood hot with memory of my darkest times. I related to the lyrics on a level I would never have expected, because I had a realization I could never have grasped before. In efforts to move forward from the darkness that was my first six months of 2016, I had made every effort to absolve all of those who had removed themselves from my life under the pressure of the events. But I had not forgiven myself for being the force that opened that door, for being the driving force asking for unreasonable salvation from individuals who could not offer me that rescue. And that is now a mission that I have given myself to work on. In the aftermath of Morgan Saint’s performance, her entire discography has been added to my arsenal of songs to listen to.

Luckily, although a true balladeer, LÉON’s set was filled with infectious upbeats and crowd engagement. LÉON focused on providing grounded, relatable anecdotes about the hardships in love that drove her to these songs of romantic woes — see: “Body” or “Pink.” Her carefree dancing on stage only encouraged the audience to dance more daringly and sing more loudly, even to the point where LÉON could stop singing and the melody would carry throughout the packed venue. While it might seem like I am shortchanging LÉON as the main event by giving her less text space than her opener, there really are no words to convey the contagious joy that spread throughout Irving Plaza as soon as the lamps lit up the stage. It was a shame to watch her go, but to close it out with “Surround Me” and enjoy the moment of communion not only with her as an artist but with the whole crowd as a gathering was the icing on the cake to someone who found her with that very song.

The track that LÉON and her band performed during the feature photo.

LÉON, keep shining bright. Morgan Saint, I’m grateful.

NEW COLUMN LAUNCH: Candidly Concerting

NEW COLUMN LAUNCH: Candidly Concerting

Music simply uncovers what is there, makes you feel emotions that you didn’t necessarily know you had inside you, and runs around waking them all up. A rebirth of sorts.

How To Stop Time, Matt Haig

If there is one thing I refuse to shortchange out of my expenses, it is my indulgence in viewing live music. My attendance has skyrocketed since 2017, when I started attending gigs solo in Dublin, to April 2019 where I have attended four to date this year with tickets to four more already in pocket. The growth year of 2018 saw 11 concerts total. (Full listings at the bottom of the article)

I could easily YouTube concerts, pirating the experience for free online. This route would doubtlessly save money on the ticket itself, plus the inevitable vodka soda I sip during the opening act. But there is an ineffable, priceless element to a live show that comes from the connection between the performer and the audience in that moment. Sure, the performer is doing the show numerous times, but the audience lives the experience once. It’s an hour or three of their lives that they will never duplicate, replicate or even be able to closely imitate. And that, in turn, creates something incredibly special for the performer, separating it from the rest of the shows in the tour (or so says Hugh Jackman. YouTube it). And so I indulge.

As eagerly as I consume these experiences, I’m equally anxious to find ways to process them and, for lack of a better phrase, memorialize them. Content in the 21st century involves an active participatory element, and so I have decided to launch this column. It won’t be frequent, but it will be quality over quantity. The themes will revert often back to what I talk about on this blog — Millennial life, mental health, romance, fledgling careers, the works — but it will center around the performances gifted by the talents that rock my world, quite literally. And I can’t tell you how excited I am to share these experiences with you from here on out.

I also assume my Instagram followers will appreciate me no longer clogging up their newsfeeds with sub-par videos with low-grade audio. But their loss is definitely your gain, if this is your interest too.


There’s some important info you need to know if you’re going to follow this column: who do I go to see? Here’s a listing of everyone I’ve seen in the last two years, followed by a little teaser of who’s to come in the upcoming months.

2017: Hudson Taylor, Us the Duo, Bear’s Den, blackbear, Oh Wonder

2018: Musae, James Bay feat. RuthAnne, X Ambassadors feat. Morgxn, The Aces, Anderson East, Demi Lovato, Jessie Reyez, Us the Duo (again, don’t hate me), Lewis Capaldi, Jacob Banks

2019: Nina Nesbitt feat. Sophie Rose and Plested, Gavin James, Kelly Clarkson feat. Kelsea Ballerini and Brynn Cartelli, LEON feat. Morgan Saint

Upcoming 2019: lovelytheband, Zara Larsson feat. Astrid S, Maggie Rogers, Sara Bareilles