Holly Humberstone is on the brink of the release of her highly anticipated sophomore album, ‘Cruel World’, set to release on April 10th. The record explores themes of love, distance and personal growth and has been paired with a unique, neo-gothic, indie-pop visual world like no other. Humberstone brought these songs to life on stage with a four-date UK tour before its release, landing in Manchester on March 30th.

The evening was opened up by Heidi Curtis; from the moment she stepped on stage, it was clear that this was no ordinary opener. With a voice that commands attention and songwriting that feels both intimate and polished, she delivered a set that was impossible to ignore. There’s a timeless quality to Curtis’ sound, similar to that of Daisy Jones & The Six and Fleetwood Mac. Her stage presence radiates confidence and authenticity - it comes as a shock to realise that Curtis has only released three songs so far, with her debut EP set to come out towards the end of May. It’s rare to see an emerging artist feel this fully formed, this captivating. Fans already knew the words to her debut single, ‘Undone’, and sang them back throughout the audience. If this performance is anything to go by, she’s an artist you simply don’t want to miss. 

After a short intermission with an iconic pre-show playlist, MUNA, Caroline Polachek, Girl In Red & Dora Jar, to name a few, the stage went black.

A clock began to tick, the stage lights following its lead. It chimed three times, flooding the stage with light and before long, Humberstone and her band had taken to the stage, opening with ‘Make It All Better’, a teaser from the pending album. From the moment Humberstone took to the stage, she had the audience dancing in the palm of her hand; it was less like watching a local gig and more like stepping into a living, breathing version of the album. The show was an immersive, theatrical world rendered in light, sound and feeling. From the outset, the stage design set the tone, appearing in a hand-painted texture and giving storybook intimacy. Humberstone doesn’t just introduce you to her world; she invites you in.

‘To Love Somebody’, a quickly beloved fan-favourite, arrived early in the set and somehow brought even more joy than its recorded counterpart. The transition into the next track, ‘The Walls Are Way Too Thin’ was seamless, almost imperceptible, as though the set list was one conscious thought. The crowd was loud from the start, screaming back lyrics like the show was a much-needed therapy session, dancing and swaying in collective rhythm. ‘Cruel World’, the title track of the project, emerged as a clear favourite. Its reception was both dear and electric.

Humberstone's stage presence was conversational, reflecting on the past like speaking to old friends. “I went to uni in Liverpool and I’d always get the train to Manchester because it’s fun as f*ck”, she shared. It was warming to hear parts of her journey, leading to this moment. New material like ‘Blue Dream’ offered a tantalising glimpse into what’s next, its lush, expansive and met with eager approval. A quieter moment followed, an acoustic interlude with beloved older tracks added to the mix. The set list was the perfect blend of the old and the new, a full introduction to the universe of Holly Humberstone.

At one point, Humberstone exited the stage for a brief moment whilst the clock returned, this time its chime ushering a cinematic voiceover that washed over Manchester’s New Century Hall. When she reappeared with ‘Die Happy’ it felt almost like a rebirth. Ethereal can often be an overused word, but here it fits perfectly. The production throughout was striking, meticulous yet never overwhelming.

‘Paint My Bedroom Black’ and ‘Down Swinging’ sparked instant recognition, claps, cheers and a bolt of energy. Between songs, Humberstone’s gratitude felt genuine: “I feel very lucky that I get to do this as a job”, she says. As she introduced ‘Deep End’, her debut single, she reflected on watching her listeners connect with her music from home throughout the COVID pandemic, thanking the audience again for carrying those songs into real life. The performance of ‘Deep End’ felt intimate; it landed with a hushed and devastating impact yet remained somewhat a beacon of hope in current times. As she announced ‘Beauty Pageant’, the crowd roared, highlighting their anticipation for this tune. It became increasingly clear as the show went on that Humberstone isn’t just performing songs, she’s threading them into a narrative. Each track, transition and visual cue contributes to a larger emotional arc.

‘White Noise’, another unreleased, shimmered into view as Humberstone explained: “it’s about crying at the club”. Its disco-tinged, alt-pop glow was enhanced by mirrorball reflections scattering across the stage. In its breakdown, the atmosphere shifted to an almost claustrophobic sound, similar to that of finding yourself in the bathroom of a club at 2am on a Saturday night. ‘Falling Asleep At The Wheel’ drew one of the loudest responses of the night, its main competition being ‘Scarlett’. Both songs felt steeped in modern-day nostalgia. ‘Drunk Dialling’ brought a playful shift in tone, it’s witty, self-aware and full of relatable lyrics such as ‘I’m gonna shake my non-existent ass to the shitty song’. 

The set ended with ‘Scarlett’, as Humberstone thanked the crowd, she admitted, “This is going to be a hard one to beat”. It wasn’t too long before she took to the stage again for an encore, ‘Lucy’ and ‘Dive’. ‘Lucy’, though yet to be released, had several members of the crowd singing its chorus and counting down days until they could listen to it on repeat.

Humberstone has not only put on a concert with a perfectly curated setlist and production value up the wazoo, but she’s also built what feels like an entire planet for her upcoming album to stand on; to say this was like any other gig would be insulting to anybody who witnessed it. After seeing a performance like this, it would come as no surprise if we saw Humberstone skyrocket to new territories with the release of her album - she has solidified her status, once again, as an artist to watch closely throughout the year.