Duo era, softer edge

What the night might include

LANY built its sound on soft-focus synths, clean guitar lines, and diary-like hooks that lean tender instead of loud. The current chapter matters because co-founder Les Priest left in 2022, pushing the project into a sleeker duo led by Paul Jason Klein with drummer Jake Goss anchoring the pulse. Expect a set that snaps between glossy pop and piano confessions, with likely anchors like ILYSB, Super Far, Malibu Nights, and Love At First Fight. The room skews mixed: groups of friends trading lines, couples sharing choruses, and longtime fans who know the deep cuts without shouting over them. You will notice a patient stage pace, short pauses that let heartbreak lyrics land, and a late-set lift when the drums open up. Trivia heads: the band first uploaded songs to SoundCloud under a blank profile to test reactions, and their name nods to Los Angeles and New York rather than a literal place. Another small quirk is how they often close with an extended outro on ILYSB, turning the final refrain into a crowd choir while the guitars shimmer. Just so you know, the song picks and production notes here come from prior runs and may change from night to night.

LANY and the Soft-World Scene

Soft colors, loud choruses

Shared moments, light touch

The crowd dresses clean and simple: neutral tones, light denim, crisp sneakers, and tour tees in soft colors that match the artwork. You will see disposable and film cameras near the front, people timing a chorus to snap friends mid-jump, and a lot of hands up for the big hooks. When ILYSB hits, the phrase becomes a chant that stretches past the last bar, with the band letting it ride. Ballads pull phones up for lights, but most folks keep them down between songs to soak in the pacing. Merch skews minimal fonts and small logos, plus a few city-specific pieces that trade the logo for a local nod. Older fans swap stories about club shows from the early days, and newer fans trade favorite lines like inside jokes. The room feels caring but not precious, and people make space when the drums open up so everyone can bounce. Expect warm energy at the rail and a relaxed buzz farther back, each section still plugged into the words.

LANY in Fine Form, Sound First

Quiet voice, big frame

Small moves, big lift

Paul sings with a close-mic tone that sits just above a whisper, and the band leaves room so those phrases feel like a conversation. Live, Jake's drums favor tight kicks and dry snares, which keeps the grooves punchy without washing out the keys. Songs often start small and add layers each chorus, a simple trick that makes the final hook feel earned rather than forced. Guitars favor bright, chorus-laced tones and an echo that answers the vocal a split second later, giving width without clutter. Keys lean on warm pads and bell-like leads, and the bass locks to the kick to keep slow songs from sagging. A neat detail: on recent runs they sometimes drop a song a half-step to ease the vocal strain late in the show, then let fans carry the top notes. Another common tweak is turning Malibu Nights into a piano spotlight before the band swells in on the last refrain. Lighting tends to color-block the mood rather than chase every beat, so your ear stays on the melodies.

LANY's Neighboring Constellation

Neighboring sounds, same diary

Fans of The 1975 tend to click with LANY's clean guitar sparkle, talk-sung intimacy, and the mix of danceable moments and quiet reflection. If you follow Lauv, the soft synth beds and heart-on-sleeve hooks feel familiar, especially when the melodies lean conversational. COIN brings a similar sunny gloss and tight rhythm section that favors bounce over bombast. Listeners who love the arena-sized feelings and friendly guitar tone of The Band CAMINO often find LANY's live build-ups hit the same nerve. Together these acts share a modern pop-rock lane where lyrics read like texts and the drums keep the night moving without drowning the vocals. It is less about genre labels and more about the polished, human-scale rush these bands shape on stage.