Music Critic Atshiga Bonvin reviews Gracie Abrams’ Birmingham show, praising the singer for putting on an elegant show and creating a beautiful sense of sorority
To the left of me, a father bonding with his daughters, learning Taylor Swift facts, making them giggle with joy as he recalls the All Too Well red scarf with an exclamation. To my right, a group of girls, tying ribbons in each other’s hair. Beautiful, silky displays of feminine elegance, gleaming under the spotlights.
Daughter of the filmmaker J J Abrams, Gracie Abrams recently came to the O2 Academy in Birmingham for her Good Riddance tour. Whilst she has headlined her previous tours for her EPs, this was her first time touring for her debut album and it became an interesting concert.
After opening for Olivia Rodrigo’s ‘Sour Tour’ and supporting Taylor Swift in the American leg of the infamous ‘Eras Tour’, Abrams amassed fame and attracted these fan-bases to her own music, or in other words, thirteen-year-old heartbroken girls. Rows of parents waited outside as if it were the school entrance, which given how depressing and how much of Abrams lyrics require the full female experience to understand, is surprising. However, whilst I was one of the oldest in the crowd, at the geriatric age of 19, the broken teen girl within was receiving catharsis. Through Abrams’ self-deprecating lyrics and vulnerable presence as she laid her heart open on stage, tears ebbed and flowed through the crowd.
Through Abrams’ self-deprecating lyrics and vulnerable presence as she laid her heart open on stage, tears ebbed and flowed through the crowd.
The opening act, Searows, with a voice and on-stage presence incredibly like Phoebe Bridgers, sang a few songs bathed in pink light. Whilst he lacked originality, it was a beautifully melancholic start to the show, provoking the feelings that Abrams would go on to draw out. However, within a few minutes, he was interrupted as the show was to be paused. It was the first fainting of the night.
Whilst the young crowd was supportive throughout the night, making wholesome heart gestures with their hands, waving constantly and screaming declarations of love, the duality came from their tendency to faint. The show was paused at least five times, security infiltrating the crowd, water passed around with a hurry as if this were the aftermath of a deathly marathon. It was a major setback to the atmosphere of the night, beautiful moments of shared melancholy interrupted by sheer panic. Even then her fans did not stop, taking these pauses as an opportunity to get Abrams’ attention, increasing their screaming, saying they feel faint purely to get to the front.
Despite the behaviour of the crowd, Abrams and the security dealt with it well. Imitations of candles lit the stage with a warm glow as she sat down at her piano. The epitome of grace, she sang, her face lit up. She returns to Amelie after a pause seamlessly, her vocals resume and once again, we are crying. Her voice carries elegance and sadness, but interestingly the songs contain an addictive beat and so a strange mix of crying and dancing occurs.
Her voice carries elegance and sadness, but interestingly the songs contain an addictive beat and so a strange mix of crying and dancing occurs.
A cathartic experience for the emotional body, Abrams’ performance travelled beyond the concert. Not only was I swaying to the beat as she sang in front of me, but I was sixteen again, crying over a boy. Songs such as I Miss you, I’m Sorry, Mess it Up and 21 amassed fame on TikTok, but whilst the electric atmosphere lessened for her more obscure songs, it transformed into collective admiration of Abrams’ presence, both of which were beautiful to witness.
The likes of Taylor Swift and Harry Styles have changed concert culture amongst the younger generation. Due to the similarities between their music and their genre as mainstream modern pop, it is evident this has rubbed off on Abrams’ tour on a lesser scale. This isn’t a surprise; her discography is very similar to Swift’s ‘Folklore’ and ‘Evermore’ albums with their deeper lyrics and softer tones. When it’s feather boas for Styles’ Love on Tour, and ERA outfits and friendship bracelets for the infamous Eras Tour, for Gracie Abrams, it is white ribbons. Not only does this relate to the elegance of Gracie Abrams, but it is lovely to see young women embracing their femininity through this act, creating a beautiful sense of sorority. The Good Riddance tour transforms into a miniature Eras Tour, all for her debut album. We are witnessing the beginning of an incredible career.
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