REVIEW: NILÜFER YANYA @ ROYALE 10/2
Photo Credit: Molly Daniel
Review by Kyra Matteo
When I stepped into the Royale in downtown Boston, the scent of weed and a floor full of Doc Martens greeted me. This is how you know you’re at an indie concert.
British indie rock artist Nilüfer Yanya headlined at the Royale on Wednesday night, supported by Eliza McLamb and Lutalo. Originally built as an opera house in the early 1900s, the venue has since transformed into a nightclub and concert space, yet remnants of its grand past remain with chandeliers hanging overhead and intricate wallpaper lining the walls.
McLamb opened the show, playing a mix of songs from her 2024 album “Going Through It” and her earlier discography. McLamb’s soft, ethereal voice, reminiscent of modern indie folk artists like Odie Leigh, coolly commanded the room’s attention. McLamb shines further through her poetic lyrics. Lines like “Everything I’m feeling is a phantom pain / The rot settled in without you” from “Anything You Want” showcases her raw and emotional songwriting, which resonates even more deeply in a live setting.
At 9 p.m., Lutalo took the stage. The Minnesota-born, Vermont-based artist (who also happens to be Adrianne Lenker’s cousin) opened their set with soft, finger-picked guitar melodies before transitioning into heavier, rock-infused sounds that energized the Royale. Throughout the set, which featured tracks from their debut album “The Academy,” Lutalo’s soft vocals contrasted starkly with the thrashing guitars. Despite technical difficulties—fans repeatedly shouting, “Turn up the mic!” and a smoking electrical outlet temporarily halting a song—Lutalo remained calm and composed, their laid-back stage presence unshaken. It wasn’t until halfway through the set that they seemed to fully immerse themselves in the music, particularly when they played a “dance song,” encouraging the audience to join in.
“The Academy” draws inspiration from Lutalo’s own experiences attending an elite school as a low-income student. Tracks like “Big Brother” and “Oh Well” address pressing political issues and reflect the lasting trauma Lutalo’s family endured during the 2008 financial crisis. Lutalo’s introspective songs often tackle heavy topics like mental health and the deep flaws in America with poignant, thought-provoking lyrics. Unfortunately, due to technical issues and overpowering instruments, some of the artist’s lo-fi, subtle vocals were lost.
The Royale presents a unique atmosphere for concerts. Instead of the usual rush to the barricades or pushing for prime spots, attendees casually gathered around circular tables, chatting as they waited. The absence of chaotic energy created a relaxed and intimate atmosphere that lingered throughout the show—refreshing in an era where toxic crowd environments have become all too common. And, for the introverted headliner, just the right level of interaction.
By the time Nilüfer Yanya took the stage, it was well past 10 p.m., but worth the wait. She opened her set with “Method Actor,” a hit off her new album “My Method Actor.” The album scored an 8.5 rating on Pitchfork and follows in the footsteps of 2022’s “Painless,” which garnered widespread praise and solidified Yanya’s place in the indie rock scene.
Many of Yanya’s songs feature intricate instrumental arrangements, incorporating elements like saxophones and synthesizers that create a more layered and distinctive rock sound. During songs like “Like I Say (I Runaway),” these sounds shone through, while her clear vocals maintained a stark contrast to her fuzzed-out, guitar-heavy choruses. Her arrangements are particularly well-suited for a live concert setting, with her band often playing hazy, atmospheric interludes between tracks rather than engaging in small talk with the audience. This is not to say Yanya has no audience interaction – at times, she took brief breaks to discuss her experiences of playing shows in Boston and her confusion about whether Cambridge is, in fact, a part of the city.
Yanya maintains a professional composure on stage. Her guitar playing appears effortless, and she often closes her eyes while playing, slowly swaying along to the rhythm. The highlight of the night came when Yanya played a stripped-down version of “Heavyweight Champion of the Year” off of her 2019 album “Miss Universe.” Yanya’s band left the stage, and it was just her and her guitar as she sang about the struggles of trying to meet the high expectations she set for herself. Her performance certainly exceeded everybody else’s, eliciting the biggest applause of the night.
Yanya closed the night with an encore featuring a cover of PJ Harvey’s song “Rid of Me” and “Midnight Sun,” a fan favorite from “Painless.” As she repeated the phrase, “No, you’re not rid of me,” the departing audience looked as if they never wanted to be rid of Yanya’s music, and as her skilled songwriting and guitar playing bring her more attention, they might just get their wish.