Seasoned indie-pop duo Cults made their grand return to the heart of Arizona, mesmerizing a sold out crowd at the Crescent Ballroom in Downtown Phoenix. Joined by Chicago-based indie rock ensemble Bnny, the venue was brimming with ethereal vocals and the sounds of hundreds of elated fans all night long.
As the crowd gradually filled the room, filling every last corner in hopes of finding the best spot to watch from, eyes naturally gravitated towards the pair of ornate candelabras at the rear center of the stage. It was a small peek into the aesthetic that Cults had developed for their live performance, one that would exceed all expectations later in the night.
Bnny
The evening kicked off with the initially serene echoes of Bnny, much to the excitement of eager attendees that had begun lining up outside the venue long before doors had even opened. Frontwoman Jessica Viscius is no stranger to walking the delicate line between airy vocals and masterfully raucous instrumentals, having made her roaring debut with Bnny in 2021. This latest touring venture comes on the tail of a busy year that saw the band release their sophomore album One Million Love Songs and play a variety of shows in support of it across the US, UK, and Europe.
Joined onstage by band members Alexa Viscius (bass), Adam Schubert (guitar), Tim Makoswki (guitar), and Matt Pelkey (drums), the group’s powerful synergy hooked the crowd’s attention and soon reeled us firmly into their grasp. Within just seconds of the first note of “Ambulance” being struck, it was nearly impossible to resist swaying in place. The soft tones of Viscius’ vocals floated around every person in the crowd, grounded by the restrained wall of guitar instrumentals that the band incorporated every so often in songs like “Get It Right”. As they made their way through their set, other standout tracks included “Screaming, Dreaming” and “Something Blue”. By the end of their time with us, it was clear why they had been asked to join Cults on their tour, as it was the perfect primer for what was to come.
Cults
After a small break between sets, the music coming through the venue speakers gradually faded away as the room was plunged into darkness, leaving only the dim light of the two candelabras that stood tall over the crowd. The silence, though, was short lived as the crowd erupted into cheers with recognition that this meant the long-awaited set was starting. A large projector at the soundboard sprung to life, casting a mind-bending animated pattern onto the large curtain draped across the wall behind the stage. It carried a haunting aura that was befitting of the latest era of the artistic journey that Cults (Madeline Follin and Brian Oblivion) have been on for over a decade.
While the duo’s latest album To The Ghosts has only been available for streaming for a little under a month, it quickly became clear that the crowd had come well-prepared to sing along to many of the lyrics. Opening their set with stand out single “Crybaby”, Follin and Oblivion assumed their positions on stage with a confidence and calmness that only comes with years of experience. As the years pass, the duo have masterfully continued evolving their sound in a way that continues drawing new listeners into their fanbase. This was apparent with the large portion of the crowd that composed the under 21 section, outnumbering the rest of us in the crowd. It was a display that demonstrated just how much the band has grown since their last Phoenix show in 2022, which took place in the very same venue.
Soaring through tracks both new and old that included “Left My Keys”, “Shoulders To My Feet”, “Bad Things”, and “Always Forever”, there was something for everyone in the crowd. Follin’s ethereal vocals glided through the room like the spirits that the album’s title references, flowing through the crowd in a way that left us feeling the music in every bone in our bodies. The sonic kaleidoscope of their sound was even further elevated by the psychedelic visuals that were projected onto Follin throughout the entirety of the show, highlighting the growth in not just the band’s talent, but their artistic production design as well. While other bands of their time have slowly faded into the background, Cults is here for their long haul. Not only have they managed to keep up with the rapid changes in the music industry over the last decade, but in To The Ghosts, it seems that they’ve even managed to soar ahead of the curve to define what the future of live performance and vocal stylings might look like in years to come. For those who may be wondering if they should attend one of their remaining tour dates, the answer is a resounding yes.
