Lola Young Proves She’s a Bona Fide Rock Star in a Bravura Return to the Stage at L.A.’s Orpheum: Concert Review

The world is currently blessed with an exceptional wave of young British female vocal talent, from Olivia Dean and Raye to Sienna Spiro. Among them, Lola Young stands out for her raw, edgy artistry—a quality that, last year, led to a necessary pause in her touring and promotion to focus on her wellbeing. Her triumphant return to the stage, however, proves the wait was more than worthwhile. A recent performance at Los Angeles’ historic Orpheum Theatre was so powerful it sparked a wish to revisit the Grammy Best New Artist category; while winner Olivia Dean is undoubtedly great, Young’s current form makes a compelling case for shared acclaim. Her fierce determination suggests such recognition is not a matter of if, but when.

This Orpheum concert was a rare U.S. appearance, following a South by Southwest set and a guest spot at Elton John’s Oscar-night AIDS benefit. With only a handful of UK dates scheduled for June, her 2024 plans remain intriguingly open. This scarcity fuels speculation about her stateside trajectory. Could she headline the Crypto.com Arena one day, or settle into a multi-night run at the Greek Theatre? For now, her American profile is still growing, though the instant sell-out of gig-specific merchandise hinted at a burgeoning cult status. The audience was ready to crown her on the spot—a queen of poignant sadness, defined by a voice of remarkable emotional depth.

As music critic Anya Sharma notes, "Young operates in a space of intense authenticity, where performance is not a separation from feeling but an embodiment of it." This was evident from the show's start. Opening with stark, solo acoustic renditions of "Bad Game (3 AM)" and "Walk All Over You," Young established a raw, vulnerable atmosphere. Her stage presence was solemn, her "Resting Lola Face" perfectly matching the material's heartache. The emotional gravity felt genuine, not performative, as she explored themes of woundedness and reciprocated hurt in songs like "Why Do I Feel Better When I Hurt You?"

The energy shifted with the full band's arrival for "Penny Out of Nothing," introducing a resonant, rhythmic pulse. While not abandoning emotional depth, the mood gradually lifted, with the audience rising to their feet. A smile finally broke through as she introduced "d£aler," a catchy yet conflicted anthem about wanting to "pack my bags, my drugs, and disappear"—a poignant choice given her public discussion of past addiction struggles. This was followed by the lighter "Big Brown Eyes," a self-aware ode to a specific type of attraction. The encore featured "You Noticed," hailed as her saddest song, about unrequited emotional connection, before closing with her signature track, "Messy."

Musically, the show had the visceral feel of a rock concert, driven by a guitar-heavy band—a direction hinted at on her third album, 'I’m Only F**king Myself.' Tracks like "Spiders" and the climactic, new-wave-inflected "Not Like That Anymore" generated a potent, nodding energy. Yet the most captivating instrument remained Young's unique voice: a confidante’s tone, capable of wailing but judicious in its power. It’s a sound that feels precious, promising a legacy of fulfillment. Her brief, heartfelt closing words—"I’m takin’ care of myself for you guys"—suggest a careful, sustainable return to the spotlight. The hope is that more audiences worldwide will soon experience what LA did: a masterful balance of emotional dishevelment and hard-earned triumph.

The evening was opened by Sofia and the Antoinettes, a rock-leaning indie-pop group fronted by the charismatic, platinum-blonde Sofia. Their lively set, including the anxiety-stream song "Introspection"—inspired by the singer's own dissociative experiences in Los Angeles—provided a dynamic contrast and hinted that a permanent move to the city might be a fruitful next step.