Ethel Cain’s Entrancement in Halifax - Review

The ‘Willoughby Tucker Forever’ tour came to Halifax and left a permanent change in how we feel being enveloped in concerts

Photo Credit: Cuffe and Taylor

Continuing her return to the UK for the ‘Willoughby Tucker Forever’ tour at Halifax’s The Piece Hall and supported by Bar Italia, the very moment Ethel Cain took to the stage with her band left barrels of cheers pouring out. The energy was there, and all of the feels were eagerly awaiting their chance to ring out, and that they most certainly did.

The Piece Hall follows a typical pattern with Hayden and her band in which they pick particular venues that really bring about the feelings she emulates in her music. Being a Grade 1 listed building, it really is a unique and special place. Sure, we are used to such history in England, but I can imagine for someone American seeing, and playing in, buildings that are older than their constitution can be overwhelming in a wonderful way. 

The building is the only remaining Georgian cloth hall, with a rich history dating back to 1779 when it was built for exactly what the name would suggest - trading cloth/yards of woven fabric produced by hand on a loom. It’s safe to understand why someone who is so intricately involved with every aspect of her music would feel welcome in a place that represents handmade quality production. Neoclassical in design, it represents a form of architecture that emphasises clean and pure geometry as opposed to the OTT Rococo buildings seen prior. I think it’s a wonderful metaphor for the distinct sounds of Ethel Cain who isn’t afraid to leave space for the music to seep through (sans lyrics) in the same way neoclassical architects weren’t afraid to leave walls blank from decoration to let the building speak for itself. 

Adorned by blue lights, and with a poncho draped across her shoulders, she began her set with ‘Sunday Morning’, a song that I’d personally label as rather underrated from her ‘Golden Age’ project and one that fell nothing short of perfect for a warm and occasionally breezy early summer evening. Time stopped, and she was reclaiming it as her own as all attention was directed to her and the twinkling electronic percussion and bass swirled the venue.

Ethel proves that sometimes music doesn’t require highly energetic stage presence, and, in fact, her music is to be experienced and felt deep within our bones. Everything feels raw and real; not only is the crowd so in tune with every passing beat, but so is she. Such is only further emphasised with the dramatic and, simultaneously, perfect change of pace with her hit ‘American Teenager’, marking just how intense this rollercoaster of emotions is going to be. Even something so simple as moving towards the left of the stage triggers an eruption of screams.

When an entire venue is awestruck, there's no room for theatrics, especially when the short-lived adrenaline rush through the tragic tale of the American dream disguised by catchy synths and an alt-pop sound transcends into a shared melancholy. Perhaps the most fitting way to meld tracks from Ethel's latest album 'Willoughby Tucker, I'll Always Love You' into the set list.

As 'Nettles' and ‘Willoughby’s Interlude’ followed, it gave a moment for attention to be brought to the set itself, a stage floor decorated with delicately placed pieces meant to replicate wood and stone, accompanied by sun-dried grass of all different lengths, occasionally lit up with greens, oranges, or white flashes. It was as though Ethel herself wasn't on a stage in Halifax but rather a field, underneath the cycling weather, experiencing every word she sang as we watched from afar. Every rumble accompanied by soft sobs, more than likely an attempt to not add background noise to videos.

Behind me a fan wiped his eyes following the emotional turmoil of the Willoughby Tucker introductory experience. He couldn’t verbalise exactly what had made him cry, but that the experience was so profound to him in some way that the tears just flowed out. Luckily for him, the next song was ‘Dust Bowl’. Immediately following the very first guitar note we locked eyes and exclaimed “this is her best song!!!!” excitedly. It’s special to hear a song you once thought would only ever be contained to SoundCloud breach that demo cage and be realised in all its glory onstage. I posted a video of this song and received a comment saying “when the lights flashed [when the guitar comes in heavy] I died” and I can completely agree with him.

Not many words were exchanged between Ethel and the crowd aside from the occasional expression of gratitude given to the people before her, her wonderful band, or the venue itself, but oftentimes no spoken word can completely express how, in that moment, we're all on the same wavelength. As she looked into the sea of people, so did I, and what met my eyes were adoring fans, wearing ensembles of references from tattoos to antlers and bloodied white shirts, potentially a nod to the 2022 film ‘Bones and All’, a token of appreciation to her song: ‘Famous Last Words’, a song that also previously remained solely on SoundCloud for a time. 

By this point, the sun was setting and we had reached the ‘Perverts’ act of the show. Contorted and quick breaths graced the microphone, meticulously building just the right amount of tension for what was to come. The titular haunting song being the introductory track, ensued by the beloved ‘Punish Demo II’, a defining moment of the show. Following the show, I searched social media to see what was being discussed and, like myself, everyone was shocked about hearing ‘Punish Demo II’. So many videos were posted of the concert and almost nobody took any footage of it; we were all living briefly in the moment and soaking up every second in the depraved glory of it all.

Adding to what was already truly a spectacle of a night, one that I’ll most definitely not forget, was the combination of ‘Ptolemaea’ and ‘Gibson Girl,’ two songs that yield a narrative shift within the tale of the preacher’s daughter. Sheer catharsis extended throughout the crowd during the scream, particularly for those dealing with their own hardships. Sinister and yet simultaneously welcoming eye contact held between Ethel and those lucky enough to secure a place at the barrier. It felt almost akin to the scene from ‘Midsommar’ (you know the one!). There remains something particularly fascinating about the ways in which connection can still be formed even during the darkest of moments, a testament to the art she creates and her ability to resonate deeply with all those that listen (and as a girl who is a Gibson by name, I felt especially catered to).

If you asked me to choose only one thing to compliment Ethel Cain for, it’d be the transitions between songs and how even those snippets of instrumental can tell an entire story. That sentiment remains consistent with ‘Radio Towers’ into ‘Tempest,’ a duo that I was greatly anticipating during the evening. The reoccurring hospital beeps leading up the first and only song from Willoughby Tucker’s perspective are haunting, causing speculation as to exactly what happened to the beloved boy of Shady Grove. In a reply to a comment on YouTube, Ethel stated that the album’s eighth track took inspiration from safe rooms in horror games, later specifying that ‘Resident Evil’ was to credit, adding to its eerie beauty. 

Just when everyone thought we had survived all the tears and the fears, she played one of her most sentimental feeling tracks ‘A House In Nebraska’. Hayden has gone on record discussing the themes of the song, stating that “[she] saw Nebraska as the center of America” and I can’t help but notice that feeling of being centred perhaps reached out to the crowd (who were quite literally centred in the middle of the venue, surrounded on all sides). Around where I was stood this was the song that got the stillest, most focused response. We all stood entirely entranced by the heartbreak and need for a home. The concert became our home for a brief second. I like to think she felt that too.

Now, it wouldn’t be an Ethel Cain show without a little whimsy snuggled closely between gut-wrenching songs. By this point in the night, we had been met with the encore, a moment of fun where, despite the singer exiting the stage, we all knew our time with them wasn’t over yet. Just like clockwork, on came her band as Ethel made her grand return to the centre stage for two more songs. 

When I first heard ‘Crush’ just before Christmas 2023 I was going through a self-discovery and trying to hone in on what my taste in everything was. There was something about the song that gripped me from the very beginning and I’ve never let go. ‘Crush’ is a fan favourite so I was always sure it would be played but there’s something so incredible singing along to it with Hayden. This was the most fun of the set; from Hayden switching up the vocal runs to her going “OooooOOoOOooo” when everyone progressively got louder singing along from “His daddy’s on death row…..” and adding some attitude to “he fucking loves me”, there has never been a time an audience has felt so deeply connected to having the time of their lives. 

During my time as a fan, I’ve come to realise that ‘Thoroughfare’ is rather a divisive track within the community. Not everyone finds themselves vibing with the seventh track’s ‘Thelma and Louise’-inspired Americana epic, but count me out of that crowd! Its harmonica, guitar and reverberated drums instrumentation always conjures up all the excitement I could possibly need for the chorus, and with an amusing hit to the face with her own poncho, it was time for exactly that. Lyrics were shouted in sync with such high volume as the song closed off with its notable tambourine and scat singing, earning the almost ten minutes the song takes up. To me, it was a closer that I couldn’t be more satisfied with. 

When leaving the venue I truly knew I’d witnessed something special. Yorkshire is renowned with musicians for being a wonderful space to share your craft - we love to be loud, we love to sing, we love to scream, we love to cry, and we love to welcome artists. Hearing Hayden say “you guys have been the loudest crowd so far” is not shocking, but it’s always nice to be appreciated by the very person you want to appreciate first. On my very bittersweet journey home I overheard two fans discussing how they’d been to see Ethel Cain on multiple stops and by far this was her best show. They felt she seemed so much freer and energetic and that you could tell she really was in a comfortable environment, indebted to her songs. 

Em’s Top 3 of the Night

1. Dust Bowl

2. Crush

3. A House In Nebraska

Wish she played: Knuckle Velvet always!! Or Waco, Texas so I could cry about Loustat from Interview With The Vampire

Piper’s Top 3 of the Night

1. Tempest

2. Crush

3. Perverts

Wish she played: Hard Times, Famous Last Words (can’t a girl dream?), or Strangers

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WORDS PIPER GAIR/EM GIBSON