Catherine Goodman / Music Desk
No place is like home, and for the Atlanta-born singer Faye Webster, no place was better to end her tour than The Eastern. Like a mother embracing their child after a too-long separation, the crowd welcomed Webster back with open arms. Donned in lace and leather, Mary Janes and Converse or flowy skirts and baseball jerseys, the crowd was dressed and ready for the occasion. Their star had returned.
Webster released her first studio album “Run and Tell” (2013) at 16 years old. After graduating from Midtown High School in Atlanta, Webster briefly attended Belmont University (Tenn.) before returning to Atlanta to pursue music full-time. The indie-folk singer has since released three additional studio albums: “Faye Webster” (2017), “Atlanta Millionaires Club” (2019) and “I Know I’m Funny haha” (2021).
The North American leg of her tour, “LIVE IN CONCERT,” spanned only one month. Webster opened the tour on Oct. 17 in Washington, D.C., and her final performance was played in Atlanta on Nov. 17.
If the crowd was lethargic after waiting in the entrance line that stretched for miles down Memorial Drive, the opening act, Upchuck, quickly shook them awake. Lead guitarist Michael Durham, rhythm guitarist Alex Hoffman, bassist Armando Arrieta, drummer Chris Salado and vocalist Kaila Thompson compose the punk rock group, which also hails from Atlanta. Despite their music style being in stark opposition to Webster’s, the crowd was nonetheless enamored with the band. Even in a tightly crammed general admission floor, fans quickly formed a mini-mosh pit in which they jumped, danced and flung their bodies in response to Upchuck’s highly energetic tracks.
Webster surprised the crowd when she joined the opening act on stage for Upchuck’s hit “Facecard” (2022). Near the end of their set, Thompson took advantage of the platform to spread awareness about Cop City. With her middle finger raised confidently to the sky, Thompson reminded the audience of the ever-present threat against racial minorities in regard to police brutality. This act was reflective of Upchuck’s entire performance — shocking, bold and unapologetic.
When Webster and her band finally took the stage, The Eastern was ignited. People screamed, cried and fumbled for the perfect photo. All four floors of the venue were crowded with fans of all ages and genders. Young women in long-white skirts held hands and swayed together, millennial couples sipped beer on the 21+ balcony and teenagers drummed against the barricade.
Catherine Goodman / Music Desk
Webster’s stage presence is nothing short of majestic. Sporting an oversized gray blazer set with cream pants and a sporty wolf-cut, the singer commanded the attention of the audience. Nevertheless, she seemed entirely in her own world. Webster would often close her eyes, genuinely lost in the music. She was unafraid to turn her back to the audience as she floated around the stage — an exercise of vulnerability and trust with her hometown admirers.
While every track Webster sang elicited an emotional reaction from the crowd, a few songs sent fans into a craze. “Right Side of My Neck” (2019) hypnotized the audience with its repetition and stunning harmonies. “I Know I’m Funny haha” (2021) likewise enraptured the crowd with its candid lyrics, soothing rhythm and cynical tagline “haha.” The final song of the night, “Kingston” (2019), induced a scream so loud it still rings in my ears.
Webster has not only mastered the art of relatability but also that of approachability. Her lyrics are honest; sometimes even silly. At one moment, Webster demonstrated her range by sing-speaking what felt like a dramatic monologue excerpted from an angsty teenager’s diary. Everyone in the audience held a collective breath as she passionately performed “Suite: Jonny” (2022) on the piano.
The visuals were yet another feature that heightened the mystical atmosphere of the performance.. Accompanying Webster’s vocals and the instrumentation of the concert band, the screen projected a youthful, medusa-like nymph sitting elegantly upon a rock. While this figure remained, the surrounding environment changed with every song. At one point, the woman sat in front of a large moon, blanketed by hundreds of tiny stars. On stage, one single strobe light illuminated Webster. These visuals served the dual-purpose of aestheticizing the stage and introducing a didactic element that helped temper the audience’s energy.
As a Georgia native, this may seem biased, but I truly believe this show was special to Webster. This crowd has watched her grow from a high-school student in a rap band to a superstar soon to embark on the European leg of her tour. A fan in line revealed he has seen Webster five times, his first being her “Criminal Records” acoustic concert in 2017. No matter how far she travels or how popular she gets, her adoring, dedicated fans will always welcome Webster home.
Catherine Goodman is from Savannah, GA. She is majoring in English and Art History. Outside of the wheel, Goodman is the President of Women’s Club Basketball and a member of Kappa Kappa Gamma. She loves listening to music, attending concerts, reformer pilates and reality TV!
