Making a stop at Cleveland’s House of Blues on March 26 on her They’re All Around Us Tour, people of all ages and backgrounds came together to experience Moriah Rose Pereira’s, AKA Poppy. Much like her internet presence, the show was full of contrast and energy–at times curiously synergistic.
Opening act Kumo 99 helped the night live up to every expectation and then some. The LA-based duo put on a performance that was nothing short of electrifying was delivered, leaving fans eager to experience Poppy’s genre-blending artistry firsthand.
Many remember the 2015 rise of internet interest in Poppy, a singer with a curious persona beyond her music. Over the course of five years, she released a number of YouTube videos of herself in front of a blank wall from 30 seconds and 20 minutes, all clean, pastel, and innocently off-putting. Her 10-minute introduction caught mainstream attention–the content of which was simply the statement “I’m Poppy” over and over. The videos, meant to garner intrigue for her music, have solidified her gimmick as a point of internet history. The aesthetic of Poppy evolved as immensely as her music.
Demonstrated through the well-curated setlist which was a mix from her latest album, ‘Negative Spaces,‘ and past fan favorites, Poppy showcased her ability to fuse catchy pop melodies with heavy metal undertones. Opening with “have you had enough?”, “BLOODMONEY,” and “Sit/Stay” not only did she rile up the crowd, but maintained the same excitement for each song she performed. Whether singing or screaming, the audience was sure to be participating. “Anything Like Me” highlighted her softer, more melodic side, and her cover of Bad Omens’ “V.A.N,” was made uniquely her own.
Poppy’s stage presence was both enigmatic and engaging. She seamlessly transitioned between ethereal vocals and guttural screams, embodying the duality that defines her music. The lighting and visuals complimented her performance, creating an immersive experience that captivated everyone in attendance. From the platforms on stage where the musicians stood–hers tiered and right-justified–to the projections of the doll that accompanied the tour’s promotion on the back curtain, the visuals were as entrancing as the music. The instrumentalists all donned black ski masks, which heightened their headbanging when they approached the audience.
Lighting played a large part in setting the atmosphere and following the moods of each song, great colorful beams crossed over the crowd, and the strip lights along the edge of the stage not only brought a glow to the pit but also provided a layer of movement to match the sounds.
The House of Blues proved to be the perfect setting for Poppy’s multifaceted performance. Its intimate space allowed for a close connection between the artist and her audience, enhancing the overall impact of the show. The acoustics were spot-on, ensuring that every note, from the subtlest whisper to the most powerful scream, resonated throughout the venue. What better way to experience the likes of “the cost of giving up,” “crystallized,” “vital,” and “I Disagree”?
The encore featured the hauntingly beautiful title track, “they’re all around us,” followed by “new way out,” leaving the audience in awe. As the crowds made their leave, in true Poppy fashion she spoke to the audience, saying “I think I see someone…oh no! It’s…it’s…um, security!” and “Get ‘em boys. Have a nice night! Get home safely!” She was sure to wish Clevelanders well while also leaving us curious.
Poppy’s Cleveland concert was more than just a musical performance; it was an experience that challenged perceptions and left a lasting impression. For those who attended, it was a reminder of the transformative power of live music and the unique space that Poppy occupies in the industry.
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