Sidney Gish Opens for The Beths at The Sinclair

by Lucia Ann Van Hanken ‘23 & Elizabeth Kiel ‘23

People who live in SoCal have Coachella. People who live in Chicago have Lollapalooza. Now, I’d like to posit that people who attend Wellesley College had Sidney Gish opening for The Beths at The Sinclair. 

Elizabeth and I met each other through Sidney Gish’s music. We both felt so connected to her music entering college that we chose roommates based on it. Four years later, we are still best friends. One of the first things we did together during our freshman fall was go see Gish in concert at The Sinclair. On Tuesday, February 28, we stood in the same spot as we bookended our college careers. 

Sidney Gish opens for The Beths at The Sinclair on February 28 (photo courtesy Lucia Ann Van Hanken ‘23)

So much of Gish’s music speaks to being an insecure college student intimidated by all the adultish-ness growing around you that you still haven’t mastered. Feeling so unsure of yourself, you think you’re under qualified to be a human altogether. Then, the message seemed to be, “you are not alone.” As she stood on stage, having finished a nationwide tour with Beach Bunny over the summer and having just put out new music for the first time in five years, the message was, “it gets so much better.”  She stood confident, presenting a live twist to the songs her fans now know well. While carefully laying out guitar tracks for the coming songs, Gish commented on how so many of her pieces are written about feelings she rarely has anymore. 

"Filming School," one single from a pair Gish debuted this month as part of the Sub Pop Singles Club, was on the setlist. Well-known for building backing tracks live, she skillfully layers guitar, vocals, and percussion with a loop pedal to create her recognizable melodies. "Filming School" was no exception. Gish warned the audience that the build-up would take exceptionally long, and she encouraged everyone to chat or "look at images on their phones" as she worked. I enjoyed some conversation. I checked my email. I felt struck by Gish's ability to concoct a live presence so similar to her laid-back, silly, and masterful music. 

Hailing from Auckland, New Zealand, The Beths’ beach-rock sound stood out against the cold Boston night. This contrast is not new for the band, who often uses their carefree, warm affect to deliver more dark and emotional lyrics. Their opening number, “Future Me Hates Me,” which speaks of falling in love, knowing that it will end poorly, had people screaming along as if they were singing about their happiest moments in childhood. The band was able to keep this energy going for the rest of the show, where in person, the poignance of their lyrics felt even more hard-hitting.

A stand-out performance came later in the night with the song, “When You Know You Know,” which comes off their newest album, Expert in a Dying Field. Even though the music is relatively new to the band’s discography, the crowd was more eager than ever to sing along. The band leaned in and encouraged every moment. The goal of any band’s tour is obviously to promote new music. The Beths went further, reintroducing the audience to songs they may have overlooked previously, allowing their energy to sink in live. The way the four members worked together, adding to each other’s sound while holding their own space, impressed upon me the importance of seeing music live.

However, what struck me most about their performance was how well the band got along, taking breaks between songs only to credit the other members, laughing with them and letting the crowd in on their jokes. It was clear they admired one another, really appreciating not only their artistry but their presence. Their ability to relax gave everyone else a chance to laugh.

Lead singer of The Beths, Elizabeth Stokes, watching her guitarist, Jonathan Pearce, between songs (photo courtesy Lucia Ann Van Hanken ‘23)

Though the guitars and drums sometimes drowned out the sound of their voices (a disappointing note to an otherwise great sound,) there was a clear sense that the main objective of the night was to have a good time. The Beths knew they had funny accents and funny sensibilities. And, as evidenced by their 12-foot fish set-piece affectionately dubbed Sidney Fish, they leaned into this. The playful nature of the music made it so people could have fun with their sadder feelings and feel proud of their emotions. 

Guitarist, Jonathan Pearce, pictured here with Sidney Fish (photo courtesy Lucia Ann Van Hanken ‘23)

Both acts fostered a sense of connectedness for the audience, both with the performers and the other audience members. People were chatting with strangers between sets, enjoying the connection they had forged by showing up. We left appreciative of not only the music, but the atmosphere these artists created.