In terms of quality, this marks a significant advancement from her earlier days, as she is accompanied by a full band (including some members from tonight’s opener, Nine) and enhanced by a lighting setup that is integral to the performance, just like Ethel herself. An off-kilter cross serves as the focal point of the stage, where Ethel remains for much of the show, aside from a spirited dash to the front for a triumphant encore featuring ‘A House In Nebraska,’ the early single ‘Crush,’ and the breakthrough hit ‘American Teenager.’ The overall atmosphere is dominated by a somber haze, turning the venue into a personal sanctuary for her, a meticulously designed backdrop for a setlist mainly composed of songs from both of her releases this year. The audience observes in rapt silence as we embark on a predominantly uninterrupted dark journey through Ethel’s realm. The most poignant moments are reserved for tracks from ‘Perverts’ like ‘Vacillator’ and ‘Onanist,’ along with the fan-favorite ‘Dust Bowl,’ which is accompanied by intense strobe lights and booming cymbals, delivering an experience that feels both powerful and otherworldly. The tender moments, especially the standout track ‘Waco, Texas’ from her new album, envelop the space in a notable sadness, while the synth-heavy ‘Fuck Me Eyes’ provides a contrasting, lively break from the heavy claustrophobia, aligning with the all-encompassing mood of the evening. This remains Ethel’s domain, yet it is Hayden’s voice that resonates the strongest, effortlessly soaring through the haunting ‘Nettles’ and the breathtaking 10-minute journey of ‘Tempest.’ Compared to her previous UK tour, tonight's performance further establishes Ethel Cain as the quintessential figure of gothic excellence.
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