The Beths presale codes

The Beths are a New Zealand guitar-pop band led by songwriter Elizabeth Stokes, built on brisk tempos, bright chords, and bittersweet hooks. Their roots in Auckland's jazz-school scene show up as tight vocal stacks and clean, well-rehearsed turns, even when the guitars snarl.

Hooky angst, sunny guitars

After breaking out with Future Me Hates Me, they doubled down on melody across Jump Rope Gazers and Expert in a Dying Field, growing from clubs to bigger rooms. Expect a set that leans on Expert in a Dying Field, with likely slots for Knees Deep, Silence Is Golden, and the title track, plus Future Me Hates Me as a singalong. The crowd skews mixed in age, with friends comparing pedalboards near the bar, couples mouthing every verse, and pockets of dancers up front when the drums push.

Chords that carry, voices that blend

Trivia: several members studied jazz together in Auckland, and guitarist Jonathan Pearce often engineers the band's recordings at home between tours. Another neat note is how their backing harmonies are arranged like horn parts, locking to the snare to make choruses pop. Note: any talk of the setlist or stage choices here is an educated guess, not a promise.

The Beths Crowd, Up Close

This room feels friendly and focused, with folks giving space up front for shorter fans and nodding along until the big choruses pull them in.

Chorus joy without the push

You will see denim jackets, well-loved band tees, and tote bags from indie labels, plus a few homemade prints referencing Future Me Hates Me. When Silence Is Golden starts, the crowd leans into the wordless hook, turning the refrain into a simple chant that lifts the roof without drowning the band.

Wear your heart on denim

Merch tables draw steady lines for vinyl pressings of Expert in a Dying Field and stickers with lyric snippets, and people compare favorite bridges instead of bragging about rarities. Between songs, the banter lands dry and quick, and fans laugh more than they shout, which keeps the pace brisk without feeling curt. Post-show chatter tends to be about guitar tones, a clever rhyme that hit hard, or how clean the harmonies sounded rather than volume or spectacle.

Hooks at Full Sprint with The Beths

On stage, Elizabeth Stokes' voice stays steady and clear, slightly dry, which lets the wordy lines cut through the guitars. The band favors tight arrangements where bass and drums drive eighth-note pulses, and guitars trade between bright arpeggios and clipped power chords.

Tight gear, tighter songs

They often push tempos a notch faster live, giving songs a nervous lift that matches the lyrics' anxious edge. Harmonies are a signature, with two and three voices stacking on choruses in close intervals that feel like a single, bigger instrument. Jonathan Pearce tends toward a bright, lightly overdriven tone with short delay, keeping the rhythms articulate while solos dart in quick bursts.

Fast enough to sting

A small but telling habit is shifting a vocal harmony part after the first chorus, so the second verse answers the lead instead of shadowing it. Simple, saturated lighting tends to mark dynamic steps, like deep blues for quiet bridges and warm ambers when the hooks hit. The result is music-first, where the mix favors voices and snare crack so the hooks and turns hit clean.

Kindred Spirits for The Beths

Fans of Alvvays should feel at home, since both acts prize sharp melodies over fuzz and lean on ringing guitar lines that sparkle without dragging.

Sparkle, crunch, and clear hooks

Charly Bliss overlaps on sugar-rush choruses and candid lyrics that still bite when the tempo kicks. If you like confessional indie with strong hooks, Soccer Mommy hits a similar lane, but with a moodier edge that pairs well with The Beths' brightness.

Fans who chase big choruses

Snail Mail brings the same post-teen ache and clean-to-crunch dynamics that this crowd tends to love. Together these artists form a circle where guitars chime, words land clearly, and the room sings the high parts right back.