ロンドンでのChappell Roan Live: O2アカデミー・ブリクストン

Kicking off the first of three sold-out concerts at London’s O2 Academy Brixton, the Midwest Princess proved once and for all that we’re finally giving the spotlight to someone who can — and deserves to — own it.

September is a month with no weekends and plenty of evening outings if you’re a journalist in fashion. From New York to Paris, the industry is abuzz, Fashion Week madness in full swing — and with our diaries packed to the brim, squeezing in anything that isn’t front-row-adjacent seems like a long shot. But there are exceptions. Priorities. And trust me, a Chappell Roan gig is one of them.

The Missouri-born singer-songwriter has been taking the pop scene by storm this summer, all thanks to her 2023 debut album The Rise and Fall of a Midwest Princess. “HOT TO GO!”, “My Kink is Karma”, “Red Wine Supernova”, “Pink Pony Club” — hit after hit, the breakout star of 2024 is giving meaning to what she calls a “femininomenon”, endearing crowds with her effervescently catchy hits, eye-pleasing, maximalist drag-inspired aesthetic, and boldly honest personality. Chappell isn’t your average pop star — she’s a queer icon, a generational voice, and first and foremost, a 26-year-old girl revelling in the early stages of stardom, ready to make it a ride. And so is her crowd.

Last evening, Roan kicked off the first of three nights at London’s O2 Academy Brixton as part of the European leg of her Midwestern Princess tour. Needless to say, tickets vanished in minutes. But the art-deco room — with a 5,000-person capacity — feels almost comically small considering her meteoric rise over the past year. No one wants to miss the chance to turn the YMCA into “HOT TO GO!” with Chappell’s crowd — and for the lucky ticket holders, there was a palpable sense that experiencing her magic in such an intimate atmosphere was a once-in-a-lifetime opportunity. Meanwhile, outside, dozens of fans lined the streets, holding their phones like LED signs, begging for spares.

Sparkles, bedazzles, red and pink outfits, drag-inspired makeup, wigs, lace, mini-lengths, and corsets — signs of Roan’s devotees could be spotted as early as Highbury and Islington station, where I jumped on the Victoria line to make my way to Brixton. Sitting in front of me, two girls in their early twenties have red lipstick prints on their ties and all of Chappell’s lyrics on the tips of their tongues, going through the star’s full tracklist during our journey from north to south-west London. It was one of those unusually warm September London nights, and as we step into the venue, greeted by a sea of dazzling cowboy hats, knee-high boots, and feather boas, I immediately know I am in for a treat.

On stage, Chappell Roan has the power of an earthquake — quite literally. From her first note to the last, the floor seemed to shake as the crowd jumped in synchronised hysteria, pink lights bathing the 1929 venue as she opened with “Femininomenon”, backed by her all-female band.

Over the past few months, Roan has solidified her spot in the fashion scene as a maximalist goddess — how could we forget her Lady Liberty-inspired outfit at this year’s Gov Ball in New York or last week’s VMAs knight-off-duty armour? But for this leg of her tour, she’s toned down the camp just enough to make room for comfort — sporting an equally impressive, stunningly studded red onesie and red cowboy boots, naturally, matching her long, loose ginger curls.

Roan ran, jumped, serenaded a wig in best Steven Tyler-style for “Picture You”, and even teased a new song, “Subway”, keeping the crowd in a vice grip, track after track. There wasn’t a single soul sitting down — everyone seemed to be riding Chappell’s high. And perhaps what makes a Chappell Roan gig such an unforgettable experience is the sense that we’re spectators of a singer who, along with her bandmates, is having the time of her life on stage.

There’s a nostalgic rawness and a naivety to their performance. Chappell’s setup is simple, and it feels as if we’re watching a high-school band rehearsing in their parents’ garage — the moment supercharged by her impressive vocals that reaffirm her position as one of the most prominent singer-songwriters of her generation. “The UK has been the most supportive of me in the whole world,” she tells the crowd. “I feel the most love here. Thank God gay people exist. And thank God straight people support them!”

“I’m so grateful I have the queer community,” she continues. “I really needed this when I was 15, the people that wouldn’t make fun of me. You belong here, whatever you are and whatever journey you’re on. I want you to know you’re cherished.” That’s how core memories are made. Well played, Chappell. Well played. Wembley next?

Kicking off the first of three sold-out concerts at London’s O2 Academy Brixton, the Midwest Princess proved once and for all that we’re finally giving the spotlight to someone who can — and deserves to — own it.

September is a month with no weekends and plenty of evening outings if you’re a journalist in fashion. From New York to Paris, the industry is abuzz, Fashion Week madness in full swing — and with our diaries packed to the brim, squeezing in anything that isn’t front-row-adjacent seems like a long shot. But there are exceptions. Priorities. And trust me, a Chappell Roan gig is one of them.

The Missouri-born singer-songwriter has been taking the pop scene by storm this summer, all thanks to her 2023 debut album The Rise and Fall of a Midwest Princess. “HOT TO GO!”, “My Kink is Karma”, “Red Wine Supernova”, “Pink Pony Club” — hit after hit, the breakout star of 2024 is giving meaning to what she calls a “femininomenon”, endearing crowds with her effervescently catchy hits, eye-pleasing, maximalist drag-inspired aesthetic, and boldly honest personality. Chappell isn’t your average pop star — she’s a queer icon, a generational voice, and first and foremost, a 26-year-old girl revelling in the early stages of stardom, ready to make it a ride. And so is her crowd.

Last evening, Roan kicked off the first of three nights at London’s O2 Academy Brixton as part of the European leg of her Midwestern Princess tour. Needless to say, tickets vanished in minutes. But the art-deco room — with a 5,000-person capacity — feels almost comically small considering her meteoric rise over the past year. No one wants to miss the chance to turn the YMCA into “HOT TO GO!” with Chappell’s crowd — and for the lucky ticket holders, there was a palpable sense that experiencing her magic in such an intimate atmosphere was a once-in-a-lifetime opportunity. Meanwhile, outside, dozens of fans lined the streets, holding their phones like LED signs, begging for spares.

Sparkles, bedazzles, red and pink outfits, drag-inspired makeup, wigs, lace, mini-lengths, and corsets — signs of Roan’s devotees could be spotted as early as Highbury and Islington station, where I jumped on the Victoria line to make my way to Brixton. Sitting in front of me, two girls in their early twenties have red lipstick prints on their ties and all of Chappell’s lyrics on the tips of their tongues, going through the star’s full tracklist during our journey from north to south-west London. It was one of those unusually warm September London nights, and as we step into the venue, greeted by a sea of dazzling cowboy hats, knee-high boots, and feather boas, I immediately know I am in for a treat.

On stage, Chappell Roan has the power of an earthquake — quite literally. From her first note to the last, the floor seemed to shake as the crowd jumped in synchronised hysteria, pink lights bathing the 1929 venue as she opened with “Femininomenon”, backed by her all-female band.

Over the past few months, Roan has solidified her spot in the fashion scene as a maximalist goddess — how could we forget her Lady Liberty-inspired outfit at this year’s Gov Ball in New York or last week’s VMAs knight-off-duty armour? But for this leg of her tour, she’s toned down the camp just enough to make room for comfort — sporting an equally impressive, stunningly studded red onesie and red cowboy boots, naturally, matching her long, loose ginger curls.

Roan ran, jumped, serenaded a wig in best Steven Tyler-style for “Picture You”, and even teased a new song, “Subway”, keeping the crowd in a vice grip, track after track. There wasn’t a single soul sitting down — everyone seemed to be riding Chappell’s high. And perhaps what makes a Chappell Roan gig such an unforgettable experience is the sense that we’re spectators of a singer who, along with her bandmates, is having the time of her life on stage.

There’s a nostalgic rawness and a naivety to their performance. Chappell’s setup is simple, and it feels as if we’re watching a high-school band rehearsing in their parents’ garage — the moment supercharged by her impressive vocals that reaffirm her position as one of the most prominent singer-songwriters of her generation. “The UK has been the most supportive of me in the whole world,” she tells the crowd. “I feel the most love here. Thank God gay people exist. And thank God straight people support them!”

“I’m so grateful I have the queer community,” she continues. “I really needed this when I was 15, the people that wouldn’t make fun of me. You belong here, whatever you are and whatever journey you’re on. I want you to know you’re cherished.” That’s how core memories are made. Well played, Chappell. Well played. Wembley next?