Ethel Cain Live Review
Ethel Cain at The Fortitude Music Hall on February 25 was a show I'd been waiting for since her first Brisbane visit in 2023. I was lucky enough to catch that show at the Cremorne Theatre at QPAC, in a room of no more than 300 people. It was intimate and heavy and felt almost sacred in a way that's hard to explain. Ever since then, I've wondered what an Ethel Cain show would feel like in a much bigger room, with a bigger stage and a much bigger crowd.
I walked past The Fortitude Music Hall a few hours before doors and the line was already wrapping around the block. The last time I saw a line like that at this venue was for Gracie Abrams' Good Riddance Tour.
We got inside about an hour before the opener and I have to give credit to the venue and staff. They were encouraging people in the mosh to sit and save their energy, knowing it was going to be a long night. Staff were constantly walking through handing out water and checking on everyone. When someone fainted later in the show, security were on it immediately, which was nice to see in a room so packed.
Despite the long wait, the energy never dipped. I was really keen to check out Elliot & Vincent. I knew absolutely nothing about the Auckland duo prior to the show because I completely forgot to do my usual pre-show research. But honestly, what a fantastic surprise. With just drums, one guitar and vocals, they somehow made the room feel huge. The sound was full, the performance was tight and engaging, and they are just effortlessly cool. Such a strong opening choice. I'm really hoping they come back to Brisbane for a headline show because I will absolutely be there.
When Ethel and the band walked on stage, the crowd erupted. They opened with Sunday Morning and I took the time to look around the room. I don't think I've ever seen so many people that locked in so quickly. There were already tears during the first song. It was beautiful to witness.
Then came American Teenager and the energy shifted. It felt super cathartic to be screaming those words alongside thousands of people. Everyone screamed every word and somehow she still cut through it all vocally. She sounded incredible all night so massive shoutout to the sound engineer!
She moved through fan favourites from Willoughby Tucker, I'll Always Love You, with people going especially hard during Nettles. But one of my personal highlights was Dust Bowl. Nothing compares to that drop live. If I wasn't such a socially awkward person, I probably would've thrown my hands up like I was in church feeling the touch of God. Honestly, that's what the whole show felt like.
Ptolemaea was easily the loudest moment of the night. That iconic "Stop" screamed in unison was genuinely chilling. Then Gibson Girl gave everyone a bit of a release and a chance to let loose after all the intensity. Hearing "downright iconic" shouted back through already sore voices was such a moment.
Tempest was slow and 10 minutes long but absolutely beautiful. I closed my eyes and just swayed. Spiritual is the only word that really fits.
At this point she said she'd sadly reached the end of her set and announced she was going to play her slowest, saddest, longest song to end. The crowd looked around at each other confused but excited, thinking Waco, Texas. Instead, Crush started. The shortest, most pop-adjacent song in her catalogue. The room absolutely exploded. She was locking eyes with people all across the front row and it felt so special.
After she left the stage, that eerie drone music started playing and everyone just knew an encore was coming. The crowd cheered non-stop until she returned, smiling and clearly grateful, saying she'd do two more.
I was silently begging for A House In Nebraska, my all-time favourite Ethel song, expecting to be disappointed because I knew she'd been switching it up each night. When that first chord played, I knew instantly. It was one of those once-in-a-lifetime moments.
She followed it with Thoroughfare, starting the song sitting right on the edge of the stage, singing directly to the girls in the front row who were nearly in tears, singing every word back to her.
I expected the show to be quite slow paced and for Ethel to be standing behind the microphone stand the whole time. But that wasn't the case at all. She moved constantly, stepping down to the edge of the stage, locking eyes, making people feel seen. The whole show heavily relies on that connection and it makes everything feel personal and unique to every single audience member.
Compared to 2023, Ethel's confidence has grown so much. She's still not overly chatty between songs, but she felt more comfortable and casual, like she's really found her footing on the stage.
The production leaned fully into that church-like atmosphere. During softer moments, the stage would go dark except for a single light behind her and the cross, smoke rising slowly. It all added to that holy, otherworldly feeling that moved through the night.
This show was a genuine 10 out of 10.
If you ever get the chance to see Ethel Cain live, go.
Immediately.