In a kaleidoscope of cool hues, Baby Queen, adorned in a funky green top and pink trousers, unleashed a sonic storm at Rescue Rooms in Nottingham for her Quarter Life Crisis Tour, leaving an indelible mark on the eager, colour-bursting crowd. Picture this to kick it all off: a cascade of vibrant outfits, a stage bathed in mesmerising blue and pink lighting, and a musical atmosphere that wasn't just indie pop—but guilty pleasure paradise. Alex Cavanagh reviews.
From the first pulsating moments where title track Quarter Life Crisis opened the set, it was clear that the South-African-born singer was not just your everyday performer; she was a woman on a mission, a musical dynamo ready to sweep the audience into a world where every beat was a heartbeat, and every lyric an anthem. Every pulsing sound throbbed with energy, and the crowd became not just spectators but participants in the auditory journey of anthemic electro-pop delights. Baby Queen's fan interaction was nothing short of spectacular, with an enthusiastic air guitar solo during Dream Girl that would make even the most stoic concertgoer break into a modest grin. The drummer, a maestro on the rhythm, was on fine form throughout the set – he complemented the kinetic energy brilliantly, turning each song into a visceral experience.
"...it was clear that the South-African-born singer was not just your everyday performer; she was a woman on a mission, a musical dynamo ready to sweep the audience into a world where every beat was a heartbeat, and every lyric an anthem."
Amidst the infectious melodies, the London-based act took some moments to pause throughout the set to unravel the threads of her narrative. "You Shaped Hole", a buoyant yet self-reflective heartbreak track, was my personal favourite of the night and a poignant prelude to one of these pausing instances. It laid the groundwork for her to say a triumphant "f**k you" to an ex from Nottingham, delivered with unapologetic gusto. The audience were not just spectators but confidantes to this mantra, like they were outlawing one of their own from the city. Their (baby) queen had spoken.
Gratitude permeated the air as Baby Queen expressed thanks for the overwhelming response to her new album, which had then charted at No. 7 in the UK. By the end of the week, I was so glad to see she had skyrocketed to No. 5 on the UK charts, solidifying her success. Then, with a mischievous glint in her eye, she declared, "this song is about weed", and a cascade of green lighting and yellow hues bathed the stage for the fittingly named song, every time i get high. The atmosphere then shifted seamlessly as she transitioned from this rebellious tune to an intimate one at the piano for Obvious.
During Obvious, Baby Queen not only flaunted her vocal finesse but also injected a playful touch. With a cheeky grin, she spotted one person at the front wielding a torch, and in her trademark style, quipped, "Ok, everyone do the torch thing. F**k it." In an instant, the crowd transformed from mere onlookers to co-conspirators in this shared experience, each flickering torch adding to the playful atmosphere. Baby Queen's facial expressions, ever so attuned to the emotional nuances of the lyrics, created an intimate connection that went beyond the physical space between artist and admirers.
"The entire crowd was steadfast in keeping up with the high-tempo, unrequited pop-rock track, marking the culmination of a fantastic experience which truly felt like once-in-a-lifetime. "
The night climaxed with fan-favourite Want Me, with a surge of energy that reverberated through the venue. Baby Queen playfully posed the question to Nottingham, "Do you want me?" and the response was a resounding "YES!” The song's inception was teased with romantic-sounding French words, adding an extra layer of excitement. The entire crowd was steadfast in keeping up with the high-tempo, unrequited pop-rock track, marking the culmination of a fantastic experience which truly felt like once-in-a-lifetime.
The room continued to resonate with the echoes of her performance, especially as the final chords as the synth-packed album-opener We Can Be Anything closed the set. With her lesbian-pride flag proudly adorned, I could sense that not just I, but the entire audience, had encountered Rescue Rooms through a distinctive auditory lens. Baby Queen's music had woven vibrant hues throughout the venue, crafting an intimate sanctuary where every little moment had etched an enduring mark on the night.
Alex Cavanagh
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