Friday (3/7/25) night at the Agora was one of the loudest concert crowds I’ve been around in quite some time. Surprisingly, it wasn’t a metal band or a screamo act from the Midwest. No, it was indie folk-pop singer/songwriter Faye Webster. Webster, on tour promoting her latest album, ‘Underdressed at the Symphony,‘ played to a sold-out and bombastic young crowd at the Agora Friday, bringing her signature blend of chill and expressive folk songs to the packed venue.
Mei Ehara opened, a J pop singer straight from Japan. Mei was backed by a full band, whose style is probably best described as subdued and ambient. The veteran guitar player, who would take solos every so often, added a bit of depth to the set. The bassist was by far the most expressive of the quiet group, though, stealing the show with his struts, but you got the feeling Mei didn’t mind not being the center of attention. The only time she did much besides sing and play, was when she gestured for the crowd to cheer for the guitarist after a solo. The only words she said other than singing were just a quiet “Thank you” after most of the songs. Well, actually, she did have some fun after the bassist broke into an impromptu “I can’t stop farting” song, encouraging the crowd to sing along as he wiggled his butt at the front of the stage. Mei hid her face in slight embarrassment and then couldn’t sing the final song she was laughing so much.
The stage for Faye Webster’s set was decorated as a laundromat, complete with fake washers and dryers behind the band, on either side of the stage. In the center of the backdrop was a giant t-shirt that doubled as a screen for visuals and positive messages between sets about treating others well. But the first thing shown, signifying Faye’s entrance, was an animated Minion with a guitar and Webster-style hair. This goes along with her fun aesthetic, which involves things like Minions, Pokémon, yo-yos, and other things that don’t really have an explanation except that she just seems to like them. Several people in the crowd also had on Minions hats and goggles.
Webster took the stage to raucous applause. Did I mention the fans were enthusiastic? Because they really were. It didn’t just involve the outfits. The line to get into the venue was wrapped around the block. I spoke with some people who arrived two hours before the doors opened just to get a good spot, not something that typically happens at the Agora.
She opened with “But Not Kiss,” one of the many great songs from last year’s ‘Underdressed at the Symphony.’ She followed that with “Wanna Quit All the Time” and “Thinking About You,” also from the new album. She finally deviated with the fourth song, “Right Side of My Neck,” from 2019’s ‘Atlanta Millionaires Club.’ The crowd went crazy again, as bubbles shot from the stage and covered the pit.
Backing Webster was an eclectic group of multi-instrumentalists. Annie Leeth played keys and strings and then shined on the saxophone during “A Dream with a Baseball Player.” Matt ‘Pistol’ Stoessel was on the pedal steel, adding a touch of much-welcomed twang. Norr Khan was on bass and backing vocals, while Charles LaMont helmed the drums.
There were many other highlights in the short, hour-and-a-half set. They included moments like during “Jonny (Reprise)” when Webster would slow jam a bit on the piano, reciting the poem-like lyrics, and then she’d finish with these weird, jazzy flourishes that would at first seem out of place but actually elevated the song beyond another mundane broken-hearted track. Then, during “Tttttime” she would play the guitar and sing a bit, walk over to the keyboard, and play a bit with the guitar at her side, and then walk back to the mic with her guitar. Moments like these and others that made the show special. Webster shines in the weird flourishes. If it wasn’t for these unique moments coupled with her interesting takes on what would otherwise be some familiar ground, the show likely wouldn’t stand out. Thankfully that is not the case.
Webster finished the set with “In a Good Way,” and “Cheers,” the crowd erupting both times, everyone singing along the ever-catchy lyrics, “You make me want cry in a good way.” The first song of the encore was just Webster and another person on keys that she only introduced as her best friend Nunu. They played “Feeling Good Today” together. Then the band came out to close out the night with yet another crowd please, “Kingston,” although I use that term lightly because they all seemed to be crowd-pleasers.
It’s easy to almost overlook the greatness of Faye Webster if you just give some songs a once-over listen. Seeing her live and really listening to the songs adds an extra layer and brings in elements of weirdness and fun, making you really see that her songs are more than you’d expect. It also makes one appreciate how her songs are different than the standard indie-folk fare that is so prevalent today. Songs like “Jonny” and “Jonny (Reprise)” back-to-back are unapologetic and relatably emotionally raw but, in the same way, confident and empowering. Couple that interesting turning off the typical songs on their heads, add those weird, jazzy flourishes, and finish with some genuinely great musicianship, and you have yourself a fantastic show.
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