Piano confessions, barbed and bright
A classically trained pianist and songwriter from the Maryland/DC scene, she reshaped 90s alt-pop with fierce, intimate narratives. Recent tours have toggled between a tight trio and solo piano nights, which changes the mood from percussive drive to candlelit focus. Expect setlist anchors like
Cornflake Girl,
Precious Things, and
Silent All These Years, with a mid-show pocket for deep cuts. On some legs she slips in
A Sorta Fairytale or a city-specific cover, often stitched to a brief story about where the song first hit her.
What you might hear tonight
The crowd skews multigenerational, with longtime fans who know the B-sides standing beside newer listeners drawn by piano-led pop. You will hear polite hush during ballads and a low cheer when she stomps the bass end of the piano or swivels to a second keyboard. Trivia heads listen for the extra low keys of her Bosendorfer Imperial and the way she sometimes reharmonizes a chorus on the fly. All notes about songs and production here are informed guesses from recent tours and could differ the moment she sits down.
The Culture in the Room
Quiet respect, loud devotion
You will see a mix of vintage tour tees, velvet jackets, and sturdy boots, plus a few floral prints that nod to 90s alt style without cosplay. Fans often swap stories about their first
Little Earthquakes spin or the
Boys for Pele era, then compare notes on last year's arrangements. Singalongs pop up on the 'she's been everybody else's girl' hook in
Cornflake Girl, but most verses get a quiet, eyes-forward focus.
Rituals that stick
Between songs, people trade setlist scribbles and debate which deep cut might slide into the 'piano bar' slot. Merch lines favor lyric notebooks, screen-printed posters, and a shirt that nods to the extra keys on the Bosendorfer. Applause tends to crest after long piano codas, with a soft cheer when she spins from one keyboard to the other. The mood is welcoming but serious about listening, the kind of room where latecomers get gentle side glances until the song ends.
How the Songs Breathe Live
Voice, touch, and time
Live vocals move from close-mic whispers to clear belt, with breathy consonants that make even fast lines feel conversational. Arrangements lean on piano as the lead, while bass and drums color the edges and leave air for the words. She often slows intros to sketch the story, then snaps into the groove mid-verse so the chorus lands like a decision.
Two-keyboard conversations
The keyboard rig usually pairs a grand with a second board set at a right angle, letting her trade phrases between bright and smoky tones. A small but telling habit is using the piano's lowest octave as a pulse instead of a kick drum, which thickens the room without extra volume. When the band swells, cymbals are held back and toms do the talking, keeping the piano's attack crisp. Lights favor warm whites and deep blues that follow song arcs rather than chase beats, so ears lead eyes. Expect at least one song to be re-harmonized with a new bridge vamp, a tour practice that keeps longtime fans leaning in.
If You Like This, Try These
Kindred piano poets
Regina Spektor fans will appreciate the piano-first storytelling and sly humor that turns on a single lyric.
PJ Harvey brings a darker, more guitar-forward tension, but the same fearless character work and shapeshifting stage presence. If you favor warm tone and luminous ballads,
Sarah McLachlan shares the adult-alt lineage and a crowd that values quiet dynamics.
Edge, nuance, and room to breathe
For thorny songcraft and intricate rhythms,
Fiona Apple overlaps in the way small shifts in tempo and phrasing carry big emotion. All four acts reward close listening, where a whisper, a pause, or an off-kilter chord redraws the room. Fans who like literary lyrics and intimate pacing tend to migrate among these shows without needing genre labels.
