LIVE REVIEW: BEABADOOBEE – THE POWERLINES TOUR @ GAS SOUTH ARENA, DULUTH, GA – OCTOBER 14, 2026

It was a perfect night for a grungy, 90s-rock-inspired indie show as crowds of fans dressed in their finest modern emo attire converged at Gas South Arena for beabadoobee’s The Powerlines Tour. It was a set that took the audience on a journey with both songs that rocked hard and more emotional singer-songwriter moments. Visually and musically, it was an aesthetic night for the books.

The evening kicked off with Wisp, whose blend of ethereal singer-songwriter melodies and shoegaze-adjacent rock made her the ideal touring partner for beabadoobee. Her set was lit by dim, moody lighting that mirrored the atmosphere of her tracks, while strobe lights cut through the haze during heavier moments in the songs. The performance perfectly balanced delicate softer portions with more explosive rock portions, keeping the early crowd captivated. Taking a moment between songs, Natalie Lu (professionally known as Wisp) acknowledged that this was about the tour’s halfway mark before launching right back into her engaging performance.

When it was time for beabadoobee, a static electrical hum crackled over the PA system to set the scene. The production design was an impressive world of its own. A towering pylon (the steel structure that supports power lines) anchored the set visually and it had many power lines hanging from its frame, which was a striking visual that tied directly into her newest album Pylon and the tour’s namesake (the song “Powerlines”). There was also a single streetlight and a telephone along a slanted road that served as the stage floor. The rest of the stage was  adorned with patches of artificial tall grass to create a scene that was picturesque yet gritty and grungy. In a fog, the backing band emerged first, followed shortly by Beatrice Laus (beabadoobee) herself, starting off strong with “Sun Has Set,” a great choice as it was the album’s lead single. The energy stayed high with “10:36,” with the audience throwing their hands in the air and shouting along. 

There were plenty of other moments where the crowd was super loud singing along too, like with “Take a Bite.” The stage elements were also storytelling devices. The power lines frequently hummed with electric audio cues and flashed light to transition between songs. For example, between “Care” and “Coffee,” light pulsed through the wires as the backing band stepped to the side and sat down. Laus took center stage with just her acoustic guitar, slowing the tempo down, but not the hype, as fans sang every line in unison and waved their phone flashlights. Pausing for a moment, Laus reflected as well on hitting the mid-point of the tour and noted the irony of performing songs about her complicated relationship with touring while actively being on the road. She admitted that despite all the “bullshit,” there’s nothing else she’d rather be doing. Joined by a bandmate for “Pylon,” the powerlines glowed above before the full band returned to drive the momentum back up to end the song.

The set was well-paced, striking a balance between long-time catalog favorites and new material. “Memories,” off Pylon, was a high-energy highlight of the new, while the distinct opening notes of “the perfect pair” drew a loud cheer from the crowd for the classic hits. For “Powerlines,” the song opened with a dramatic camera zoom on the pylon structure before Laus appeared on an elevated platform built right into the rig. Delivering a fantastic vocal performance that was simultaneously grungy and pristine, she performed bathed in a dramatic red light as the track ended in a gritty guitar solo.

Nearly every song on the setlist carried its own distinct visual or musical stamp. “Nothing to Prove” got the crowd jumping, sending a visible wave through the standing pit. Later on, “Satellite” saw Laus step up to the telephone prop to sing the intro into the phone before the chorus hit with intense strobes. The lighting shifted to a striking green for “Switchblade,” ending in a burst of strobes that had everyone on stage and in the stands moving dramatically together. During “She Plays Bass,” Laus shouted out her bandmates, especially giving a special moment to bassist Eliana Sewell, who was featured prominently on the video screens throughout the song. The ending of that track had one of the most energetic crowd reactions of the evening with the most jumping. The last song of the main set was “In Motion,” which started slow but quickly picked up, with the pylon releasing bursts of sparks at the peaks of the song to end the show with a bang. 

Laus and her band exited the stage, but the break was brief before they returned for an encore. Speaking to the crowd once more, she opened up once again about Pylon and how challenging things have been lately, emphasizing that the fans’ energy makes every obstacle worth it. Stripping things back, she played “the way things go” solo on acoustic guitar, crowd singing along loudly and eventually belting out the entire bridge unassisted. She then invited drummer Luca Caruso back out to play on guitar for an unreleased track: a self-proclaimed “very silly song” titled “Lemon to My Lime.” Laus joked about how special it was having fans support both sides of her artistry, the side that screams and the side that wears cat ears, putting on a pair of black cat ears for the performance. Caruso lacked headwear of his own, but a fan threw two cat plushies onto the stage as a consolation. The full band returned for the finale, “Beaches.” The stage was bathed in golden light, and flashlights swayed across the venue. After throwing picks and other stage items into the crowd, taking a selfie on stage, and waving goodbye, beabadoobee left Duluth satisfied after a perfect night of indie-pop-rock music.

beabadoobee Photo Gallery

Wisp Photo Gallery

Setlist

• Sun Has Set
• 10:36
• Apple Cider
• Radio
• All I Did Was Dream of You
• Take a Bite
• Care
• Coffee
• Pylon
• Pictures of Us
• Memories
• Glue Song
• the perfect pair
• Powerlines
• Nothing to Prove
• Write Me a Letter
• Satellite
• Post
• It’s Alright
• Talk
• Switchblade
• She Plays Bass
• Cologne
• In Motion
• the way things go
• Lemon to My Lime
• Beaches

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Live photography by Anna Daugherty for No Flash Needed. © 2026 No Flash Needed. All rights reserved. Do not reproduce without written permission.