By Ella Mastroianni, Blog Assistant
TTTTIME TO SEE FAYE WEBSTER
Faye Webster is one of a kind. The 27-year-old artist from Atlanta, Georgia has been making music for over a decade, and in that time she has proved herself a master of conveying emotions and pulling them out of her listeners. With a jazzy, indie pop foundation and her unmistakable voice, it's no wonder people were pouring into Suffolk Downs last Saturday night. While she is known by a wider audience for tracks like “Kingston” and “I Know You,” she is more than just a viral sensation; anyone who takes the time to dive into her discography will find music akin to hidden treasure.
UNDERDRESSED AT THE (SUFFOLK DOWNS) SYMPHONY
The first thing that caught my attention when walking onto the field of Suffolk Downs was the gigantic white tee-shirt hanging center-stage. Naturally, it had a giant hanger to hold it, and the whole piece made for an interesting question starter. Curiosity tugged at me and I wondered: would something be projected on there later in the night?
The rest of the stage was filled with a collection of washing machines splayed out on either side of the gigantic t-shirt, and on top of the washers, there were monochromatic clothing racks packed with varying shades of blue clothing. The stage embodied Underdressed at the Symphony, the album cover art coming to life in a larger than life way.
Julie, a band from Orange County, California, soon set the night into motion with their addictive high energy opening set. The grunge band consists of Alex Brady, Keyan Pourzand, and Dillon Lee, who are all in their 20s, and they provided music that, while much different than Faye’s, had the audience’s full attention. They played a handful of songs including “Flutter,” “Through Your Window,” and “April's-bloom,” all of which had versatility. Julie killed as an opener for Faye, but they also would fit right in with more punk-leaning spaces. (While I was considering this, I was also trying to visualize just about how many people would fit in such a large tee shirt, because I couldn’t help myself.)
WHY SEE DESPICABLE ME WHEN YOU COULD SEE FAYE WEBSTER?
As the crowd started to take shape, I noted all the different outfits and styles I saw: flowing skirts, Faye Webster merch (of course), but I also saw something I would not in a million years have expected: a minion. Someone came dressed in an accurate-to-screen minion outfit from the Despicable Me movies, which had me at a loss for words. Soon, I would understand, but for a second there, I was perplexed; was there a fan convention next door? Had they been seated at a screening of Despicable Me 4 before thinking now was a perfect time to listen to “Right Side of My Neck” live?
As the show started up, the big white tee shirt got its first projection: a video of minions (one minion à la Faye Webster) singing a minion-ified version of “But Not Kiss.” It sounded like “Spa Gu Tis” and the audience was cheering and laughing as a collective. Before Faye even came on stage, two things were clear, the first being that Faye Webster is a riot, and the second that this was about to be a great show.
SHE'LL MAKE YOU WANNA CRY IN A GOOD WAY
The set with all the blue and giant-shirt-intrigue was one thing, but once the lighting entered the mix, the stage’s composition was cemented into the hall of fame that I just now made up of “Best Stage Sets in All of the World.” The line of washing machines lit up as Faye took the stage for the real, un-minionfied “But Not Kiss.” The circular doors glowed pink, pulsing and spinning along with the music. The song was a perfect jumping-off point for the show, offering a mixture of quiet and loud moments where the crowd could cheer as much as they wanted. Faye was a natural on the stage, breathing new life into the warm July night. As she steered into “Wanna Quit All the Time” and “Thinking About You,” the explosive energy of the crowd didn’t falter for a second, everyone thriving in the weird and mystical atmosphere Faye’s music created. The lighting kept the visuals interesting as well, Faye bathed in purples pinks and blues.
During the performance of “Better Distractions,” Faye took a second to talk to the audience. “What’s up, Boston?” she said before the swirling, semi-distorted instrumentals that mark the ending of the song.
Other than that moment, she didn’t spend too much time talking, letting the music be the strongest connection between artist and audience. And her music definitely spoke for itself. Particularly, while performing “Jonny,” Faye went back and forth between her guitar and the keys, and her vocals had unbelievable character. A recording couldn’t possibly capture the places where her voice used more breath or where it lilted up and made a squeaking noise—it was special to hear the little differences between recording and real life and see her relationship with the instruments. At the end of “Jonny,” she recited the words at the end of “Suite Jonny” off of the Car Therapy Sessions EP, which was a more than welcome addition, stirring up emotion in plenty of audience members. “Goodbye, Jonny,” she concluded, and all of a sudden there were only five songs left before the end of the night.
(S)HE LOVES ME YEAH!
Aside from the inclusion of minions, another thing I was not anticipating (but loved beyond belief) was a pronoun change for a song! “He Loves Me Yeah!” Is a romantic and groovy little tune from Faye’s most recent album with not too many lyrics that listeners have to memorize, the most important one being the titular, “My baby loves me, yeah, he loves me, yeah.” However, when Faye swapped “he” for “she,” the crowd went wild. It was delightful to watch her having fun on stage, rocking out with her guitar and playing with the volume everytime she sang “yeah” into the microphone. It was delightful to watch in real time as this song became a queer anthem.
Unfortunately, no show can last a “Lifetime,” and at some point, Faye had to leave, and so did the crowd. Before the bit of parting being such sweet sorrow, she ended with the legendary “Kingston.” Bubbles floated by during the song, as the cluster of people in front of the stage became an amplifier for the lyrics, singing, “Baby, tell me where you wanna go. Baby, tell me what you wanna know. Give you everything I have and more.”
From there, it was a little wave to the crowd, and then, Faye faded away. But her performance left a lasting impression on us all.
