Following a sold-out UK and Europe tour in late 2025, Ethel Cain played a fantastic night at the Piece Hall in Halifax. With magnificent Georgian architecture and a rich history, the venue emphasised the solitude and serenity of Cain’s music, hosting a fantastic night of the Willoughby Tucker Forever Tour.
Opening for an artist with such a dedicated fanbase is always a challenge, one that Bar Italia rose to exceptionally. With the venue already near enough at capacity, the crowd were expecting something big. The audience gasped as the band walked out to ‘The Real Slim Shady’, making a bold, unapologetic statement as to who they are as artists.
It was unorthodox, yet it made complete sense as they started to play. Bar Italia are a London-based indie rock trio with roots in post-punk, shoegaze and lo-fi rock. With rougher vocals, distortions and heavier guitars than on their records, the music took on a new life when live, almost like a well-crafted chaos. Part of their appeal was their mystery and hypnotic presence, absorbing the crowd. Throughout the set, I don’t think Nina Cristante ever stopped dancing, her long, fluid movements as she twirled herself around the mic stand, drawing the audience in. With many albums already released, the set felt like a whistle-stop tour.
The second song in Cain’s set was ‘American Teenager’, a fan favourite from her debut album, ‘Preacher’s Daughter’. The song explores dark Americana and the pursuit of the American dream, but at what cost? Undoubtedly inspired by her Southern Baptist upbringing, the song explores patriotism, religion and militarism, and it still resonates with a UK audience, knowing every word.
In the first verse, Cain knelt down and sang tenderly to fans in the front rows. By the chorus, there was an explosive energy, with the crowd jumping and swinging their arms freely in a moment of emotional catharsis. She extended her mic to the crowd as everyone screamed the iconic lines “it’s just not my year, but I’m all good out here”. From the start of the night, it was evident that Cain had a really strong connection with her audience, derived from the openness and vulnerability of her performance.
The setlist was 15 songs long, showcasing tracks across all of Ethel Cain’s albums, particularly ‘Preacher’s Daughter’ and her most recent release ‘Willoughby Tucker, I’ll always love you’. After finding success with her first album, Cain rejected being the pop star label, exploring a slow burning atmosphere and drone influences to create dynamic extremes within her music. Instead of chasing viral moments, the evening was a celebration of her artistry and an opportunity to deeply connect with fans.
At the beginning of ‘Dust Bowl’, the lights surrounded Cain, creating a halo effect, paired with her hauntingly beautiful vocals that sat delicately above the crowds. The song gradually escalates with hazy drones, synths and an echoing guitar sound before a powerful climax. The lights strobed as Cain stood at the top of the stage, calling out to her fans.
After an unbelievable show, all that was left was the encore. ‘Crush’ was another chance for fans to dance and let go. The song has a carefree, cinematic energy and driving drum beat, instantly recognisable from the first second. The night ended on ‘Thoroughfare’, a bittersweet dramatic climax as fans called out, “Do you wanna see the west with me?” The atmosphere was nail-biting as fans stood back in awe, reluctant for the night to end. As the sun set on Piece Hall, the crowd left with a sense that they had experienced something intimate, vulnerable and breathtaking.
✍️ WORDS BY KATIE LEE
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