Upon arriving to House of Blues at doors, I am met with a long line of eager fans winding throughout Downtown Disney. With two back-to-back, sold out nights at the 1,700-capacity venue, Alex G can clearly draw a crowd; I later overhear an excited group of fans detailing their trek from Arizona to Orange County just for this show. As the seemingly endless line trickles into the venue and I claim my spot in the photo pit, opener julie takes the stage.
Thanks to the online virality of their 2020 single “flutter” and the replayability of their discography, julie has accumulated a considerable and steadily growing fanbase without even an LP to their name. julie’s style–both visually and sonically–is reminiscent of a bygone era in music. Lead singer Alexandria Elizabeth’s soft voice layered over distorted and bass-heavy tracks recalls female-fronted shoegaze bands like Swirlies. Guitarist Keyan Pourzand standing beside her in ripped jeans and a baggy t-shirt and Dillon Lee’s fast, intense drumming emanate Nirvana-era grunge. The boys’ laidback appearance accentuates Alexandria’s unique style; tonight, she wears a lace corset and an asymmetrical skirt, with pink ribbon tied around her waist and the headstock of her bass guitar. The dark, moody stage lighting and a teddy bear slumped against the amp also contribute to julie’s artfully edgy vibe. Still, nothing about julie is performative; they are “cool” by being authentically themselves and remaining true to their creative vision. They begin their set with “catalogue,” a track from their upcoming debut album, my anti-aircraft friend.
“Tethered to the wall / By the fears I thought I’d shed / Long ago I was imagining / But I don’t want to”
“catalogue” by julie
Witnessing julie’s raw power onstage reminds me of my first introduction to their music. Ironically, I discovered them here at House of Blues years ago when they opened for indie band Greer, whom they have now far surpassed in streams. Now touring with the likes of Faye Webster and Alex G, I am confident many concertgoers will share my fate, becoming avid julie enjoyers after one captivating set.
After a brief hiatus, Alex G walks onstage to roaring applause and screamed “I love you”s. The 31-year-old singer-songwriter has garnered millions of fans over his decade-long career, whose devotion and love is palpable tonight. With nine albums, two film soundtracks, and a plethora of unreleased songs across the internet to his name, his discography is extensive and diverse. Though he is best known for his older, angsty songs popularized by TikTok, tonight Alex G showcases the impressive range of his artistic prowess.
Alex G walks us through the span of his discography in tonight’s performance that I feel compelled to title the “Alex G variety show.” He opens with “S.D.O.S,” a moody track with haunting piano chords and echoing vocals off his latest album, God Save The Animals. As its title suggests, the record taps Christian themes–despite him not being religious–to elucidate the newfound struggles and abstract revelations of this period of his life.
“God is my designer / Jesus is my lawyer / Curled up in the shower / High above the tower”
“S.D.O.S” by Alex G
Moving back in time, Alex G and the band perform “Southern Sky” and “Gretel,” highlights off his 2019 record House of Sugar. These songs, like much of his discography, reflect the clear influence of folk music on his artistic style that is often reduced to the ambiguous “indie” label. With songs off tonight’s setlist featuring violin, slide guitar, and tambourine, as well as a narrative writing style, Alex G’s aptitude as a folk artist has clearly gone underappreciated.
Although Alex G’s sad, acoustic tunes are some of his most famous, he proves tonight that he is equally skilled in rock music. Halfway through the set, he plays “Brick,” an angry, hardcore track off 2017’s Rocket. I watch in awe as Alex G screams into the mic over loud, distorted guitar with the stage lights strobing in the background. Witnessing tonight’s performance, as Alex G moves between acoustic and electric, folk and rock, and piano and guitar, I feel utterly amazed by the sheer variety of his talents and artistry.
In my research for this article, I’ve seen Alex G labeled “indie,” “lo-fi,” “electronic,” “rock,” and “bedroom pop,” all widely different genres with large areas of overlap that still fail to capture Alex G’s unique style. At tonight’s show, I bore witness to his true range as a vocalist, guitarist, creative, and performer. I would even go so far as to call him a comedian, taking frequent breaks to lightheartedly joke with the audience and let his sarcastic, down-to-earth personality shine. At one point in the set, he shut down hecklers by requesting that there be no filming and absolute silence for his next song, or he would revoke our Disneyland privileges: “I know how much you f*ckers love Disney.”
As the show seemingly comes to a close with “Forgive,” the audience begins to cheer for an encore. I expect him to oblige us, but what I do not expect is a generous, seven-song encore composed entirely of fan requests. He plays fan favorites like “Forever,” “Mis,” and, lastly, “Mary,” the iconic guitar riff of which still sounds within the bedroom walls of every pretentious indie man ever.
“Mary is the girl that I wanna kiss / She’s got big red eyes and big red lips / She’s got big sharp teeth and big fat hips”
“Mary” by Alex G
Clearly, I can say that I thoroughly enjoyed the “Alex G variety show,” and I would bet that any Alex G fan, from newcomers to die-hards, would say the same. The show has something for everyone, with a setlist touching on nearly all of his records, featuring fan favorites, deep cuts, and TikTok hits. Alex G’s personality and talent truly shine onstage, and he left me eager to see where his creative genius takes him next.
