{"id":50016,"date":"2025-10-10T10:24:19","date_gmt":"2025-10-10T14:24:19","guid":{"rendered":"https:\/\/sites.bu.edu\/wtbu\/?p=50016"},"modified":"2025-10-10T10:28:11","modified_gmt":"2025-10-10T14:28:11","slug":"quinnie-sonia-10-7","status":"publish","type":"post","link":"https:\/\/sites.bu.edu\/wtbu\/2025\/10\/10\/quinnie-sonia-10-7\/","title":{"rendered":"quinnie @ Sonia 10\/7"},"content":{"rendered":"

Photography by Mina Jones<\/p>\n

Review by Anna Gohman<\/p>\n

This past Tuesday, an eclectic, young crowd packed Sonia, an intimate venue on the outskirts of Boston, hoping for a night of emotional and gut-wrenchingly personal music \u2014 and they were not disappointed. quinnie, an alternative indie-folk artist, captivated her audience with an ethereal stage presence and siren-like vocal delivery. Beneath a spinning disco ball showering the room with hues of pink, blue, and orange, quinnie curated a one-of-a-kind atmosphere of intimacy, comfort, and authenticity, encouraging her audience to listen a little closer, be vulnerable, and really connect with her deeply personal lyrics.<\/p>\n

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Joining quinnie on her second major headline tour for her new album \u201cpaper doll\u201d was Olivia Austin, known creatively as Operelly. Creating music in a similar genre to quinnie, Operelly\u2019s blend of enchanting vocals, eclectic arrangements, and catchy guitar melodies was the perfect opening for the night. During her time on stage, Operelly played songs from her recent EP \u201cHandwriting Practice No.1,\u201d as well as fan favorites including \u201cCozy\u201d and \u201cMy Bell Rings.\u201d She couldn\u2019t have done a better job generating excitement for the upcoming performance while promoting her own music. It\u2019s safe to say Operelly ended her set with more than a few new listeners from the crowd.<\/p>\n

As the main show of the night, quinnie, whose real name is Quinn Barnitt, did not fail to deliver an entertaining and flawless performance. Kicking off with her song \u201ca new shade of blue\u201d from her latest album, quinnie immediately set a peaceful, enchanting tone as she began to navigate song after song of ultrapersonal lyrical terrain that she\u2019s so well known for. Interspersing old tracks with new, one after another, every song blended into a melodic roadmap of quinnies journey to that moment. Transitioning from a song like \u201cbaja bird\u201d on her recent release to \u201cpromised,\u201d from her 2023 album \u201cflounder,\u201d and back again to a new favorite, it became clear just how much she\u2019d grown as an artist \u2014 and how much the audience had grown with her.<\/p>\n

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Eight years ago, quinnie began releasing demos and songs on Bandcamp, a relatively smaller streaming platform. Three years ago, she gained mainstream success with her viral 2022 TikTok song, \u201ctouch tank.\u201d This year, the self-made artist is touring the U.S. and Canada, proving how her music has grown beyond viral TikTok fame to reach a wider audience of devoted fans. This long journey, as well as her pride and satisfaction from it, was reflected throughout her show.<\/p>\n

Towards the end of her set, quinnie performed the oldest song of the night, \u201cgold star,\u201d from her 2019 EP. In doing so, she sent her band away and played directly to the crowd \u2014 just her and her guitar. The song felt like a nod to her younger, Bandcamp-era self. Since her start, quinnie has evolved from a DIY bedroom-pop artist largely producing on her own with a raw, lo-fi aesthetic to today’s more polished indie-folk artist, with outside producers, refined production, and greater depth to her sound. And it’s not just her sound that has developed over the years, but her lyrics as well. Although they are still very personal, exploring themes of youth, relationships, and insecurity, these themes have become more complex and mature as she journeys into adulthood. She invites her listeners to follow along as they grow with her.<\/p>\n

Regardless of how far she has come, quinnie remains authentically herself \u2014 still deeply committed to honesty through her lyrics and connecting with her listeners. As her longtime fans join her on her musical journey, they can expect that, despite the increasing venue size or growing number of new monthly listeners, quinnie is committed to being a smaller-feeling, down-to-earth artist. From the very beginning, quinnie chose to use lowercase names, songs, and album titles to emphasize her art and its earnestness. This small creative choice, combined with the actual substance of her music, creates a uniquely personal listening experience and reiterates her loyalty to her day-ones.<\/p>\n

Reaching the end of her set, quinnie was more than happy to give the crowd what many of them had come for: the music that gained her mainstream recognition. For her final songs, quinnie played \u201ctouch tank\u201d and \u201cman,\u201d both from her first album, \u201cflounder.\u201d And the crowd, myself included, was ecstatic. All around, people were dancing, shouting the lyrics, and jumping with excitement as a wave of nostalgia for a past time, when quinnie was trending and today’s stress had yet to exist, washed over their smiling faces. The energy in the room was palpable, and if it were up to me, the concert would never end.<\/p>\n

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Photography by Mina Jones Review by Anna Gohman This past Tuesday, an eclectic, young crowd packed Sonia, an intimate venue on the outskirts of Boston, hoping for a night of emotional and gut-wrenchingly personal music \u2014 and they were not disappointed. quinnie, an alternative indie-folk artist, captivated her audience with an ethereal stage presence and […]<\/p>\n","protected":false},"author":25371,"featured_media":50024,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1895,1525,1523,15,1530],"tags":[2552,231],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50016"}],"collection":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/users\/25371"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=50016"}],"version-history":[{"count":4,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50016\/revisions"}],"predecessor-version":[{"id":50037,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50016\/revisions\/50037"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media\/50024"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=50016"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=50016"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=50016"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}