Emma Ruth Rundle THESE KILLING TIMES presale codes

Emma Ruth Rundle came up through post-rock projects and doom-leaning collaborations, then stripped it back for the stark piano world of Engine of Hell. That pivot, tied to a sober, clear-eyed era, defines her current run and gives these songs a raw, steady center. Live, she drifts between open-tuned electric guitar and a piano bench, letting quiet hang before the next swell. Expect a set that threads early burn with recent hush, with likely stops at Marked for Death, Blooms of Oblivion, Darkhorse, and Return.

Songs that hush a room

The crowd skews 20s to 40s, metal shirts next to thrifted coats, people holding still and listening like it matters. You notice enamel pins, notebooks, and a long exhale before each applause.

Small truths, deep cuts

She paints much of her own cover art and came up in bands like Marriages and Red Sparowes, which explains the widescreen feel even in quiet parts. Treat any setlist talk here as an informed hunch drawn from recent shows, not a promise.

Quiet Storms and Black Coats

The scene leans dark but thoughtful: black denim, long coats, boots, and a few handmade patches from past tours. People trade notes about pedals and poetry zines, then fall silent as the lights dip.

Black coats, soft voices

Between songs, there is a soft murmur and a shared patience, more nods than shouts. You will spot merch tables heavy on screen-printed posters, lyric books, and limited vinyl, with designs that look like charcoal studies. Applause is long and low, sometimes lifting into a chant on a title phrase after Blooms of Oblivion or Darkhorse.

Rituals at the merch wall

That calm intensity suits a night where the loudest thing might be the reverb tail. It is an easy room to bring a friend who likes songs with weight, and a good place to start when this tour hits your city.

Nerve, Notes, and Nightfall

Rundle's voice sits high and clear, with a touch of grain that blooms when she leans into a phrase. Guitars arrive in lowered tunings and open D variants, giving simple shapes a chorusing ring and long, sympathetic overtones.

Tunings that bloom

She favors fingerpicked patterns that leave space, while the band, if present, moves in muted pulses rather than big crashes. On piano numbers, she pares harmony down to bare triads and slow, tolling left-hand figures, which makes the lyric feel closer. She has been known to recast Marked for Death as a slow-blooming piano piece and to stretch Return with a longer intro, small choices that reframe familiar songs.

Quiet tricks, big lift

A subtle harmonizer or double tracked delay will shadow key lines so the room hears a second 'ghost' voice without losing the human edge. Lights tend to sit low and warm, with a narrow backlight and faint haze, so the sound feels like the picture: focused, not flashy.

Kindred Roads, Shared Rooms

If your playlists hold Chelsea Wolfe, you will recognize the dark folk tones and patient dynamics. Marissa Nadler maps similar nocturnal storytelling, trading in breathy melodies and slow-moving harmonies. Fans of Thou already know Rundle's heavy-side collaborations and will hear that gravity in the set's low tuning and droning sustain. A.A. Williams rides the same line between post-rock lift and singer-songwriter focus, drawing crowds who want intensity without the volume wars. Zola Jesus listeners often chase that mix of catharsis and ritual pacing, which shows up here in long-held notes and bare arrangements.