May 24, 2025

Lauren Mayberry’s Rescheduled Fillmore Debut Dazzles — A Night of Reckoning, Resilience, and Rebirth

lauren mayberry

Lauren Mayberry’s solo debut last night at The Fillmore, was more than just a concert — it was a luminous reckoning. The CHVRCHES frontwoman, known for her powerhouse presence in the synth-pop trio, stepped into her own spotlight with a performance that was both vulnerable and defiant, signaling a bold new chapter in her artistry.

Originally slated for January but postponed due to illness, Friday’s show came with the weight of anticipation. Mayberry thanked the audience early in the set, in her Scottish lilt warmly familiar, then began. That delayed arrival only made her presence more potent — a return not just to form, but transformation.

Lauren Mayberry

Opening with the brooding “Liability Waiver,” Mayberry set a tone of cinematic introspection. Dressed in a gothic-glam black ensemble and bathed in icy blue lighting, she commanded the stage with quiet intensity. Her new material — drawn from her upcoming debut solo album Vicious Creature — shimmered with lyrical rawness and sonic sophistication. Tracks like “Change Shapes” and “Crocodile Tears” pulsed with controlled chaos, equal parts catharsis and clarity.

A reimagined version of The Verve’s “Bitter Sweet Symphony” emerged as one of the evening’s most unexpected highlights — its sweeping strings swapped for stuttering synths and a haunted, almost whispered vocal delivery. It was a perfect metaphor for Mayberry’s evolution: familiar, but stripped back and newly defined.

The Fillmore — with its velvet walls and history of hosting legends — proved an ideal backdrop for Mayberry’s rebirth. She filled the space not with spectacle, but sincerity. Her banter between songs was candid and often disarming, drawing warm laughter from a packed room.

The emotional apex came with “Anywhere but Dancing,” a song that turned the venue into a cathedral of shared longing. You could feel the crowd exhale in unison, transfixed.

She closed with “Sorry, Etc,” a slow-burning anthem that builds and breaks like a fragile wave, as well as two encores. As the final synth notes faded, the audience stood in roaring ovation — not just for a compelling setlist, but for a woman who’d weathered storms, postponed the stage, and returned stronger.

Lauren Mayberry didn’t just deliver a show; she delivered herself — unguarded, reinvented, and absolutely ready.

Louis Raphael

San Francisco music critic and photographer, Louis Raphael, was the SF Music Examiner for Examiner.com and AXS.com for 3 years, before starting Music in SF®. As an influencer with a combined audience of 100K users, Raphael works to bring brand awareness for bands and various musical acts worldwide.

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