This is an article I wrote for the University Daily Kansan. The full article can be found here.
The Arvest Bank Theater at The Midland set the scene for Courtney Barnett’s Here and There festival this past Monday. Barnett’s latest project is a touring festival featuring 24 different artists at 15 different venues. The first leg of the tour began in Kansas City on Aug. 9, where Barnett was accompanied by artists Lucy Dacus and Quinn Christopherson.
“It’s something I’ve been forever daydreaming about, and part of an always evolving project to share spaces and build new platforms for art and artists that I believe in,” Barnett said. “It’s always been important to me to share the stage with people that I admire and artists that inspire me, which is why I’m so excited and grateful to announce this amazing lineup.”
During the hours before the show, a sea of overalls and thin-line tattoos trickled in, and early bird concert goers anxiously lined up to get merch under the baroque chandeliers that hung over the bustling lobby. I happened to overhear the merch stand worker whispering about how this is the ‘nicest crowd’ he had ever worked with. After scanning the demographic of the line, which consisted of introverted indie millennials and members of Gen Z, I found myself in silent agreement with the merchant.
The show attracted crowds from out of town. Austin, Texas, locals Michael Breaux and Seth Breaux were amongst the people waiting in line for merchandise.
“I missed Lucy Dacus in Austin, but my sister lives here,” Michael Breaux said. “Two birds with one stone.”
The crowd even consisted of international travelers. I spotted a gleaming couple who seemed fully immersed in the show and nearly bubbling with excitement. After some conversation, I learned that Gabbi Greco and Julie Vanderlip traveled from Toronto.
“We came to Kansas City because this is one of the only dates where they’re all playing together,” Vanderlip said. “This doesn’t exist anywhere else, especially in Canada,” Greco added.
The lights in the theater dimmed, and Quinn Christopherson quickly entered the stage. He instantly moved the crowd with his melancholic dream-like sound. He was accompanied by friend Gracie Gray, a fellow musician with melodious instrumentals. The energy ramped up a few songs in when he performed "2005," a heartfelt song about reminiscing on nostalgia, citing humorous mentions of puka shell necklaces and ugg boots.
Toward the end of his set he performed "Celine," a heart-warming song about his mother’s love for karaoke. Throughout his set, the chemistry between Christopherson and Gray was phenomenal; they jumped and swirled around on stage together, their passion unmatched. This energy was mirrored by the crowd, as a sea of people were bobbing their heads in unison. He ended his set, and left the crowd with excitement for what is to come.
When the next act ensued, an on-stage screen lit up with old home videos of a young Lucy Dacus, an homage to her recent album Home Video. She opened with "Triple Dog Dare," a slower song with a heavy presence that masterfully stirred the crowd into excitement. Dacus has mastered the art of the gradual energy shift in her songs, and it was a pleasant recurring theme throughout her set.
Dacus had an unmatched stage presence and ability to interact with the crowd. Before performing her single "Kissing Lessons," she posed the question, “Who here’s gay?” A sea of hands shot up. “Predictable,” the artist said while stifling a laugh.
Her set was a masterful mix of equally upbeat and slow soulful songs. Toward the end, she surprised the audience with a rendition of "Believe" by Cher. The audience reacted in a way almost reminiscent of worship, throwing their hands up towards Dacus in praise. She ended her set strong with fan favorite "Night Shift" off of her sophomore album "Historian," which pretty much left the audience in tears.
The night ended with festival headliner Courtney Barnett and her impeccable range of sound. The Australian artist opened with "Rae Street," off her third album "Things Take Time, Take Time." It was hard to look away, as her stage presence encapsulated the audience, me included. She found a way to be insanely visually entertaining while singing, and playing the guitar all at once. At one point she whipped out a cowbell, making her a true triple threat in that moment of time.
Her setlist pulled titles from her sophomore album "Tell Me How You Really Feel," one in particular being "Nameless, Faceless." She was completely eccentric on stage, head-banging while simultaneously shredding her guitar. The crowd was upbeat and lively throughout her whole set. At the end of her performance, she brought back Quinn Christopherson for a duet, ending the inaugural show with a bang.
Upcoming festival dates for Here and There can be found here.