Review and Photos by Andrew McNally
There may not be a single better night to see indie singer Laura Stevenson live than on the eve of the autumnal equinox. Stevenson’s music, over the course of her seven albums, has always maintained the feeling of an airy but ominous mood swing, not dissimilar to the gloominess that hits when you realize the days are getting shorter. It’s too blunt to call it sadness, and not even melancholy – more an acceptance that the next period may be rough. All of this to say, it was an absolute blast to see her come through the Sinclair on September 21st.
Up first on the night was Oceanator, a New York-based indie group that is also in the Quote Unquote Records circle that birthed Stevenson. The group played a number of cuts off their excellent 2024 album Everything Is Love And Death, including “Lullaby” and “Happy New Year.” The band played an exceptional complement to Stevenson, taking the same kind of lovely, indie melodies, but infusing them with energy and volume. It was one of the louder and wilder Oceanator sets I’ve seen, as both singer/guitarist Elise Okusami and bassist Toni Richards spent the whole set thrashing, bringing riffs and punk energy to the Sinclair crowd. As much as it may have been sonically different from the forthcoming toned-down Stevenson set, it was spiritually similar; a set of big, melancholic but joyously melodic indie tunes with stunning vocal turns.
Laura Stevenson and her band came out next, in a properly unassuming fashion. It was an abrupt entrance, with no music, no backdrop and no recognition. It was a low-key affair, even by her standards. Stevenson’s new album Late Great is one born through tough times in her personal life, and it’s among her softer records. It’s also possibly her best since 2011’s Sit Resist, a sparse and emotional record that leaves no feeling hidden or unchecked. The album – like most of Stevenson’s music – is focused on light guitar and heavy vocals, as her borderline-operatic singing voice and personal lyrics carry every song through luscious, scant instrumentation. All of this was presented at the Sinclair, as Stevenson kept the full set relaxed, even doing four songs solo. The crowd was minimal – chalk it up to a competing MARINA show, and/or Turnstile the night prior – but it made the set feel more personal.
Predictably, Stevenson pulled heavily from Late Great, playing nine of the album’s twelve songs, including “#1,” “Domino” and “Short and Sweet.” She opened with the new cut “Honey,” and closed with three straight from the album – “Late Great,” “#1 (2),” and “Instant Comfort.” She also touched on five of her other six albums, leaving only Resist off the list. Her four song solo venture in the middle of the setlist saw her play new song “Not Us,” as well as older tracks “Moving Cars,” “A Shine To It” and “Runner,” the latter of which is usually one of her livelier songs, but was pared way down for a haunting rendition. Even when the band was together and more locked in, the emphasis was on a laid back and cathartic set. That’s not to say it wasn’t fun, though, as Stevenson characteristically cracked jokes, including an impromptu diversion into the hand, foot and mouth disease her daughter has. She talked about cutting “Life Is Long” from the setlist, only to bump into a fan in CVS who specifically requested it. There was also a running joke of Stevenson introducing nearly every song as a sad one, which cut through the somber tone.
In an era of expansive stadium tours and $250 tickets, it can be refreshing to experience such a relaxed show. I’ve personally seen Stevenson at least ten times, and her voice always sounds just as magnificent live as it does on record, an impressive feat for someone who does not hold back in the studio. Her new album is an indie triumph, and the live show matches it. For those that trekked to Harvard Square, they got a beautiful, emotional and intimate indie show.
Check out Andrew’s photos from the show below:
