LIVE REVIEW + PHOTOS: Holly Humberstone – Rough Trade, Liverpool – 20/03/2026

In an unprecedented move for one of these Rough Trade shows, there’s actually production onstage. Nothing too elaborate—a couple of cardboard cutouts of trees wrapped in tinfoil—but it’s appropriate for someone who gives off the theatre-kid energy that Holly Humberstone does. That’s not meant to be as derisive as it sounds, either. Of the current crop of indie-pop girlies with moderate-to-high rates of success, it’s a vibe that’s taken her a decent distance. On this current run that kicks off tonight, this is by far the smallest venue that Humberstone will take to, more of an aperitif for a tour that’s already preluding her new album Cruel World in April.

Thus, it’s a much more humble affair, which seems to be the draw if Rough Trade’s packed venue space is anything to go by. Considering Humberstone will be playing Coachella in less than a month’s time, an intimate, stripped-down, barrier-free show feels like an unmissable prospect if you’re a fan. To Love Somebody opens up with instant appeal, filled out by its backbeat without being overpowered, and remaining comfortable in its acoustic guitar and Humberstone’s featherweight vocals. For as harshly limited as a ‘stripped-back’ performance can be, it’s nice to see some effort taken to combat that. Bass-beats and pianos are natural inclusions and sources of variety, and ultimately make sense for these interpretations. The natural, insular angst baked into sad-girl pop like this appreciates this smaller, tidier palette.

It’s impressive to see how little gets lost in translation, too. Even with the inherent gentleness of these songs, they don’t break down to pin-drop silence; they’re kept with a little more personality. There’s even the rustle of a singalong that begins on The Walls Are Way Too Thin, Falling Asleep At The Wheel and Scarlett. As for the new, unreleased material sprinkled about, that, too, feels nicely developed, even here. The main one is Beauty Pageant, described by Humberstone as “the most personal, most embarrassing song that [she’s] ever written”, where the charm of its recorded counterpart already begins to seep through. It’s a bit ‘Disney ballad’ in execution, with enough quaint, theatrical steps and willowy falsettos to feel distinct in Humberstone’s catalogue, even in this current form.

For what’s effectively a warmup for what’s to come, it’s difficult to really pick faults here. It’s not the most dynamic thing in the world but it’s not meant to be, nor does the fostered atmosphere allow for that too much. By design, it’s small and low-key, and a pretty-voiced Humberstone front and centre is the nucleus of all appeal. That’s enough, especially for those who are already sold, and who are clearly awaiting Cruel World to be their next obsession in a few weeks’ time. When that’s out in the world, expect Humberstone’s 2026 to deliver in spades.

Words by Luke Nuttall

Photos by Maryleen (Instagram / Website)