A trip to Beatopia

Stopping by The Regency Ballroom on Wednesday, November 16, I was lucky enough to be transported by 22-year-old artist beabadoobee to Beatopia (2022). More than just the name of her most recent record, Beatopia is, as her live performance demonstrated, a tangible escape in its own right. I knew I was in for an unforgettable night before anyone had taken to the stage, mostly due to the adoring audience surrounding me. To my right, two phone screens held up the message “clap if gay” which prompted thunderous applause. Full tooth smiles and hands gripping tightly onto Beatopia records and t-shirts made me truly realize that this young headliner has some electric and devoted fans.

That excited energy was clear when opener Lowertown took to the stage. The New York based duo’s alt punk set had the audience jumping up and down with moments of valiant attempts at moshing. Towards the end of their set, lead vocalist Olivia let the audience choose between a punk or sad song for one of their last pieces. When the audience overwhelmingly chose punk, the expectation was to dance because according to Olivia, “I don’t want to look silly.” It is safe to say that upbeat spirit was delivered by the already lively concertgoers. Lowertown brought the electric anticipation any good opener needs, but honestly, if you said they were headlining their own show that night, without a doubt I would have believed you.

Photos by Div Buccieri

When beabadoobe—a musical moniker for the London-based singer Beatrice Kristi Laus, or Bea for short—took the stage about 20 minutes later, it was overwhelmingly clear that music is what this young artist is meant to do. Coming off of a canceled show due to sickness two days prior, Bea apologized and made the crowd aware she was not at her 100% energy, but she could have fooled me. All smiles and gratitude, beabadoobee’s set was a gift for any avid fan.

Newly popularized classics like “The Perfect Pair” and old hits like “She Plays Bass,” generated the same amount of enthusiasm in a crowd that was simply ecstatic to be in Bea’s presence. My favorite moment of the night came towards the end of the set when she played “Last Day On Earth.” Many of the lyrics are playful, arbitrary sounds and repeated “yeahs,” so the audience caught on quickly (although I’m convinced most of them could already sing this song in their sleep). The call-and-response liveliness exemplified to me just how much the energy of an audience like this one can pave the way for a good show.

Photos by Div Buccieri

Bea touched on her heritage when addressing the crowd, opening up space to celebrate her Filipino fans in the audience. Looking out at a sea of grins, Bea said “…seeing you all in the crowd makes me feel less alone. 15-year-old me would have loved this.” If the community fostered by the concertgoers is any sign, beabadoobee has a fan base that is set to support her journey in the long-term—even as far as opening for Taylor Swift on her highly anticipated arena tour next year.

Finishing up the show was an encore including Bea’s most viral and heavily sampled song “Coffee,” newer melancholic track “Ripples,” and a personal favorite upbeat piece of mine, “Cologne.” “Let’s go crazy baby!” is what Bea shouted before her final song of the night, but that spirit was locked in before she even stepped foot on the stage. This concert encapsulated what beabadoobee does best: playing honest, impassioned songs from the heart that everyone can’t help but sing and move along with. If you see beabadoobee live, I dare you to try and not get lulled away in the breeze of fairyism that blows when you witness Bea’s embraceable vocals and energy. I’ve found that it’s impossible not to enjoy every minute in her presence.

Article by Lucy Hanna

Photos by Div Buccieri