At Lizzy McAlpine’s concert, the usual attire of a flowing white skirt and hair bow was replaced by a sea of wigs, masks, angel wings and horns, marking the spooky occasion of Halloween. The intimate concert took place at the 3Arena in Dublin, designed to resemble a ‘Tiny Desk’ inspired living room complete with cosy warmth and simplistic settings. McAlpine, donning a Cruella de Vil outfit, was accompanied by a six-member backing band in Dalmatian costumes.
Dublin marked the final gig of McAlpine’s ‘Older’ tour that started six months ago, a tour which brought about significant professional growth for the Philadelphia-origin singer-songwriter. The European concert plans had to be adjusted last year, owing to Lizzy prioritising her physical and mental wellbeing, which led to some shows being postponed and others cancelled.
Her Dublin performance began beautifully with the soulful sounds of birds singing and the echo of mallets on drums, creating an environment that felt more thoughtfully curated. As the show progressed, the music pared down to resonant vocals and piano for ‘The Elevator’, a feature seen throughout the concert and the album from which the tour name borrows.
The set moved through a mix of groovier tracks like ‘Come Down Soon’ with more layered sound, and soothing melodies such as ‘Movie Star’. Mainly characterised by the fluctuation between these two styles, McAlpine’s velvety voice was consistently enchanting throughout, purposefully spotlighted by the pared-back instrumentation.
Earlier this year, McAlpine made comments on ‘Ceilings’, a track that unexpectedly propelled her to stages like 3Arena. Initially not a single from her second album ‘five seconds flat’, ‘Ceilings’ later exploded on TikTok and despite its casual release, it has since overshadowed every other track in terms of streams across various platforms.
During the opening of her Older tour, McAlpine noticed her fans exit the auditorium after performing Ceilings, a mid-setlist number. She’s been managing the strenuous facets and privileges that come with a substantial contract with RCA Records, having had her reputation as a social media sensation sky-rocket.
McAlpine’s conscious decision to reduce production is a reaction of sorts. This approach shines particularly on songs like March, a mournful tribute to her late father, and the album’s namesake, Older. The latter, she remarks, signified a major shift in the album following a time of disorientation and uncertainty about the project’s course.
While the show could benefit from additional dramatic effect, Doomsday, a track from the last LP, wonderfully juxtaposes a morose theme with vibrant, dynamic musical arrangement, characterized by high-flying instrumentals and rhythmic, executioner beats.
Even though some of the fresh album’s lyrical elements seem tailored for TikTok, the dressed-up crowd at the 3Arena are completely entranced for 90 minutes, entranced by every lyric uttered by McAlpine. Despite admitting to having uncovered the works of Joni Mitchell only lately, she redeems herself with an impeccable rendition of Big Yellow Taxi.
As a closing act, the Dalmatians opt for a costume switch, donning improvised McAlpine skirts to close the show. They conclude with Ceilings, with no audience member hurriedly exiting. The evening was bewitching, resembling a cosy living room concert, as the singer-songwriter aspires to transition from viral fame to more substantial recognition.