Gig Review: Beabadoobe

Beabadoobee devotees had dutifully formed a long snaking line outside Manchester’s O2 Victoria Warehouse hours before doors opened at 7pm. Arriving at 7.30 to catch the last half hour of the powerful opening set from LA indie rockers Momma, the detritus of a long day sat waiting for their idol – including blankets and pillows, littered the front of the venue.

Those who secured their spots at the front early got about the only view of the gig worth having. Despite 90% of the Filipino-British singer and songwriter’s fans being 5ft nothing young women and girls, those of us used to only hearing standing gigs were no better off for it.

But it did nothing to dampen the spirts of the dedicated crowd, who faithfully chanted the lyrics of hit songs including Coffee, Take A Bite and She Plays Bass back to the 24-year-old whose fans are evidently as inspired by her grunge vibe as they are her lyrics.

Beabadoobee isn’t exactly ‘brat’ – there’s a sweetness to her style and demeanour that was particularly evident in her lilting nursery-rhyme-like acoustic numbers and brief spoken interludes where she gently told the crowd just how very grateful she was for their support and for showing up. But there’s also a welcome rejection of the insipid ‘clean girl’ phenomena in her ‘90s-inspired indie-grunge with its crunchy guitars, the matching aesthetic and moments of bratitude that occasionally revealed themselves. It was inspiring to see so many young girls abandon TikTok and skincare routines for a night of sweaty abandonment, real social interactions and genuine community.

There was a sense of supportiveness, solidarity and safety among the crowd as they watched Beatrice Kristi Ilejay Laus – a woman some of them have followed in her evolution from a girl since she released a series of EPs on the indie label behind the 1975, Dirty Hit, in 2018 and ’19 aged just 18. Many others will have discovered her when sleeper hit Death Bed (Coffee For Your Head) charted in 2020 after going viral.

This current nine-date UK tour, which concludes in her hometown of London before Bea heads to Europe for more dates until 3rd December, is in support of her third studio album This Is How Tomorrow Moves. Her most accomplished album to date it’s an introspective and mature work that demonstrates the evolution of her artistry without straying from the sound and style that won her her loyal admirers.

Whether stomping or swaying, fans were there for navigating the artist’s changeable emotional landscape right alongside her.

Tracks performed from her latest album included opening number California – nodding to the laid back West Coast vibe she is clearly inspired by – Beaches (ditto), and Coming Home, which were seamlessly mixed between tracks from her earlier releases including Fake It Flowers and Beatopia.

Seamless too was Bea’s transitions from full band anthems to melancholic ballads, with the crowd naturally responding. Whether stomping or swaying, they were there for navigating the artist’s changeable emotional landscape right alongside her. Visual storytelling through monochrome lighting and gothic background projections allowed the audience to further enter Beabadoobee’s artistic world.

Though she gave little to the crowd between songs – aside from her gratitude and one funny interlude with her drummer who was dressed as the singer’s cat, Kimch (who also adorns her merch) – Beabadoobee’s willingness to explore vulnerability through her lyrics allowed the audience a connection with her that will undoubtedly see their continued loyalty and allow her the space and support to continue her evolution.

For many it was clearly their first live music experience (bucket hats off to the mums and dads at the back!) and clearly a positive one that will keep them coming back for more.