As I walked into the Belasco, I saw many people wearing CHVRCHES merch from different eras. The energy was palpable, a shared excitement for seeing Lauren Mayberry live as a solo performer for the first time after more than a decade in a Scottish synth-pop trio. As the very last show of the US leg of her tour in support of her debut album Vicious Creature (EMI Records, 2024), Mayberry brought grandiosity and theatricality to songs that explore themes of darkness and feminism, the latter being a well-known cause for the soprano singer-songwriter.

She brought along Cult of Venus as the opener—undoubtedly a fellow feminist powerhouse! A New York native, Cult of Venus performed solo, alternating between electric guitar and synth while filling the room with a clear, impactful voice that soared in an almost angelic way. There was introspection and elegance in an electric performance that at times blended the ambient, soothing sounds of Vancouver Sleep Clinic with the wandering energy of Bon Iver. They retraced a seemingly lonely journey—an anonymous one—since nobody truly knows their identity or what they really look like. Their face is always obscured by long blonde hair, making them a mystery. Even as a photographer in the photo pit, I found it nearly impossible to capture more than an inch of their face—at first, it made me question my own skills.

After waking up to the smoke and fires in Los Angeles, Cult of Venus wrote "Mountains", a song about rebellion and desperation—a call for help, even as they sang, “There ain’t no savin’ me.” It wasn’t the first time their music transcended into themes of strength and resilience; they have previously performed across many all-female prisons and detention centers. They closed their set with their latest single, "Algorithm", a powerful electronic track that gave me "Nightcall" by Kavinsky vibes, setting the perfect energy for Lauren Mayberry’s entrance.

Mayberry opened with her latest single, "Crocodile Tears", announcing herself with an "ultra-catchy eighties inspired tune sprinkled with jittery synths". As a self-proclaimed villain, she found it thrilling to see men's tears. Throughout the show, she danced and invited the crowd to clap along to the heavy synth and beats, with fans singing and moving in sync. Mayberry was radiant, glowing under the blue lights in her fairy-like red dress, commanding the stage with the confidence of a veteran performer. Beyond delivering a five-star performance with her distinctive, emotional vocals and magnetic stage presence, she was also highly entertaining during intermissions.

She recounted the story of the red megaphone she brought on stage for "Something in the Air"—one she had ordered online, only to receive it with a photo of Donald Trump using it and a message thanking her for her purchase. In shock, she stepped back, thinking, “Don’t touch it!!” Her story triggered waves of laughter and boos from the audience before she quipped, “Okay, I gotta shut up before they deport me.” As it turns out, the megaphone also doubled as a powerful light, adding a striking annonciateur energy to the stage, alongside vintage white telephones she used as props.

A breathtaking surprise during her set was Mayberry’s cover of "Bittersweet Symphony" in her signature style—grandiose, expansive, focused, and magnetic. I had to stop and take it all in. But Mayberry didn’t stop there. She created quiet, deeply personal moments too, like with "Oh, Mother", a piano ballad and ode to her mom. Singing “Oh, mother, I couldn’t do it without you” and “What would I do without you?” brought a hush over the crowd. In a Reddit AMA, Mayberry admitted that this song made them all weepy and sad in the studio because it’s “a depressing song”—one that wouldn’t have fit within CHVRCHES’ emotionally and sonically different direction.

The show ended with "Sunday Best"—the perfect closer for her final US show, which happened to be on a Sunday. Mayberry had previously explained that the song’s bridge was the hardest to write on the album, but finally cracking it felt “extra-euphoric.” The crowd felt that way too—extra euphoric. Thank you for the music, Lauren Mayberry!

- Lio