The live shows I loved have one thing in common: they made me feel alive. In descending chronological order of their event date, my favorite live shows are:
2025: Marie Davidson, Confidence Man, Christina Aguilera
—Portola Music Festival
San Francisco, CA.
A lineup of acts I never imagined I would see in the same day: Marie Davidson’s warehouse techno, Confidence Man’s acrobatic pop extravaganza, and the fifty-minute revival of Xtina’s iconic Y2K era. Underground and mainstream mixed in the best way possible.
2025: Lady Gaga—The Mayhem Ball Tour
San Francisco, CA.
Spectacular tour. Dark (and disturbing at times) but cohesive and meticulously executed. I particularly loved the opening of the show, when Gaga delivers an operatic transition between “Bloody Mary” and “Abracadabra,” wearing a gargantuan red gown—a nod to the Elizabethan era, a perfect way to set the tone of the concert. She also talked about Tony Bennett just before performing “Vanish Into You,” which I thought was a great and heartwarming way to affirm the internet rumors.
Oct 2023: Róisín Murphy—Portola Music Festival
San Francisco, CA.
My second time seeing Róisín live (first time was in 2016 when she came to New York). This set was adjusted for the Portola Music Festival, which means I only got fifty minutes of Róisín’s brilliance, but even the abridged show was impeccable.
Albeit similar to her Take Her Up to Monto show in Brooklyn seven years ago, especially with the outrageous costumes and the drag-like extravagance, the Hit Parade tour was far more of a nightclub undertaking. I loved that. Probably because we all needed that after the Covid-19 pandemic and because it felt more intimate and more real that way.
Sep 2023: Lady Gaga—Jazz & Piano
Las Vegas, NV.
My second time seeing Gaga live (first time was in 2010 when she came to Croatia with The Monster Ball Tour), and even thirteen years later, she commanded the stage with such confidence and mastery, once again proving what a multi-talented star she is. I mean, who else can do a global glitzy dance-pop, high-production tour and then transform into a Vegas diva, backed by a live jazz band?
My favorite part of this show was seeing her provocative yet classy one-woman choreography to “Sway” and the jazz interpretation of “Stupid Love.” Above all, what I loved was realizing that I had the privilege of witnessing a thirteen-year journey of one of the most important stars ever: from the controversial 24 year-old pop sensation in 2010 who had not even released “Born This Way” yet to the 37 year-old icon in 2023 with numerous awards, from the Grammys to the Oscars.
Oct 2022: Rosalía—2022 Motomami World Tour
San Francisco, CA.
I have to admit this concert was not love at first sight. Because I instantly fell in love with Motomami—the album—I thought I would be zealously obsessed with the show as well. This was, however, not the case. When Rosalía’s concert in San Francisco ended, I felt confused, irked, and maybe even disappointed.
Looking back though, I really do believe that this was one of the best shows I’ve ever witnessed. It’s just that it took me a bit to realize that I was—bluntly put—getting older. I came in with expectations of what I thought a good show should look like, and I didn’t even give Rosalía a chance to demonstrate her brilliance.
Seeing her stage such an unusual and weird live show convinced me, in the end, that she was weaving a significant cultural bond across the world that evening. The bond might not be apparent to everyone, but it’s definitely there. And, in case you’re curious, I wrote about what that all actually meant here.
Sep 2022: Grace Jones—2022 North American Tour
Oakland, CA.
This was a show that I’ve been wanting to see ever since I was a kid but also one that I knew was most likely to never happen given that Grace Jones hadn’t released an album in a very long time. I am so, so grateful that I got to see her perform live in Oakland and to witness the ultimate diva of the music, fashion, and club scene.
74 years old at the time of this concert, Grace still had all the trademark glamour and confidence—if not even more—that made her so famous. Her outfit changes, her powerful voice, her seductive personality, and her unprecedented mastery of balancing masculinity and femininity were obvious evidence that she still has it and the she always had it.
I loved her sense of humor on stage and how communicative she was with the audience. And, while I knew so many of the revolutionary pop and rock stars we’ve seen over the last thirty years owe their style of extravagance and eccentricity to Grace, what I noticed during this show was that one thing never got replicated by anyone: her innate theatricality. Many of the stars I’ve seen perform live adopt theatricality as part of their stage persona, but Grace is naturally like this. She plays with it and knows how to have fun with it.
Apr 2022: Rina Sawayama—The Dynasty Tour
San Francisco, CA.
It was so incredibly refreshing to see a new pop diva deliver an exquisitely choreographed show after two years of grim global atmosphere during the COVID-19 pandemic.
Rina’s live performance very clearly drew inspiration from many of her own influences—Lady Gaga, Britney Spears, NSYNC, and many more—but she still delivered a unique flare of theatrics. She went from modern Valentino-like haute couture to 2000s Black Eyed Peas MTV outfits within a span of just a few songs, and switched back and forth between her pop gems to the more unexpected heavy-metal bangers. Somehow, it all worked.
It was a highly entertaining and content-packed concert to watch. While the show production will not seem revolutionary to longstanding pop fans, Sawayama’s incredibly incisive and personal songwriting skills add a much more sophisticated spin to the typical pop show structure, and make it clear that we are now re-defining what it takes to be a pop diva.
Sep 2019: Minimal Violence—Live Set at RS94109
San Francisco, CA.
The duo’s incredible debut album was surprisingly enjoyable for me because I can’t typically listen to an entire record of high-speed, high-energy techno music. So, I was obviously eager to witness their hardware live set.
Everything about this live set was unusual and brilliant. They performed at San Francisco’s RS94109 record store in the Tenderloin on an excruciatingly hot summer night. The impromptu dance floor was small and tightly packed, fans came dressed in the most outlandish cyberpunk outfits, and the only visible light came from either their gear or dim-lit streets of Tenderloin.
It was altogether bizarre, a bit hilarious, a bit scary, and more than anything—defying. I felt like I was part of a futuristic underground revolution, going against some evil entity that can only be fought with electronic and punk music. Certainly not a type of performance that would appeal to everyone, but I loved it.
Jul 2019: Robyn—Honey Tour
San Francisco, CA.
A magnificent concert. I immediately fell in love with Robyn’s album “Honey” when it came out, and to this day, still admire its delicate and soothing production. Hearing it live that summer was a dream come true.
What I didn’t expect and know about was how subtle and understated her stage persona is. She commanded the stage with such confidence, but that confidence was so obviously a result of deep inner awareness and comfort with herself, not some ostentatious gimmick. Her outfits in the show were sexy but not vulgar, her dancing was sensual but not provocative, and her attitude was playful but not immature.
It all together felt very cathartic. Starting with slower “Honey” songs and ending with some of her incredible dance classics (my favorite was actually her live performance of “Don’t Fucking Tell Me What to Do”) was an incredible way to show us what she was going through—an escape from darker days, an evolution to a new self.
Mar 2019: Nils Frahm—All Melody / North American Tour
San Francisco, CA.
I was so happy that I got to see Nils Frahm perform live. Compared to the typical, theatrical live shows I enjoy, his performance is purely music- and skill-oriented, so I knew I was going for a much more introspective experience.
His studio album compositions are obviously excellently produced but also often melancholic and almost perfectly suited for rainy, cold, and quiet days. I was therefore very curious how this would sound live and whether I would enjoy his music in a concert setting.
He exceeded all my expectations—watching him masterfully transition from one instrument to another, creating a meditative and intoxicating sonic landscape, felt like watching the most skilled and talented painter create a masterpiece. The trademark wistfulness in his music was still noticeable, but the show did not feel sad or tiring. It very much felt like musical healing.
Jan 2018: St. Vincent—Fear the Future Tour
San Francisco, CA.
This was my second time seeing St. Vincent live, and it was a notably different experience compared to her Digital Witness Tour in 2014. Equally well-executed and outlandish, this tour showcased a glossier and sexier aesthetic, and often seemed like a modern-day monodrama. Clark did receive criticism for not having a live band as part of this experience and focusing too much on herself, but I actually really enjoyed the show even if it wasn’t a typical St. Vincent “art rock” experience.
One thing that’s undeniable is that she goes above and beyond to always deliver a unique show that will look nothing like the previous tours. For that, I think she deserves a lot of respect. I also wrote an in-depth review of the concert here.
Nov 2017: Jessie Ware—Glasshouse Tour
San Francisco, CA.
Jessie Ware’s 2017 show in San Francisco has a special place in my heart. I was starting a new chapter of my life that year, after moving to San Francisco in a very frazzled state, and had spent a good chunk of my time that winter in deep introspection, figuring out what this new phase of life meant for me.
I went to the show alone, and just loved how tightly-packed the venue was and how familial the atmosphere felt. The softness and vulnerability in Ware’s latest album at the time, “Glasshouse”, really suited my emotional state, and her stage persona—glamorous, formidable, motherly—felt like a guardian angel signaling that I was exactly where I needed to be. I also wrote an in-depth review of the show here.
Nov 2016: Róisín Murphy—Take Her Up to Monto Tour
Brooklyn, NY.
Definitely one of the most memorable nights of my life. Everything about this show was absolute perfection: the grungy and intimate Music Hall of Williamsburg, fans’ outrageously stunning outfits, Róisín Murphy’s absurd outfit changes verging on drag queen performance, her incredible charisma, the brilliantly talented band, and the show’s eclectic repertoire— ranging from early Moloko albums to Murphy’s latest album at the time, “Take Her up to Monto.”
For me, it had been almost 10 years of wanting to see her live, so that concert was certainly a life milestone. I wrote an in-depth review of the show here.
Jun 2014: Hard Ton—Club Performance at Suicide Circus
Berlin, Germany.
A few friends and I were interning in Berlin in the summer of 2014, and were using the opportunity to discover the city’s incredible nightlife. We ended up at Friedrichshain’s Suicide Circus around 04.00 a.m., just a little bit before the summer’s early sunrise. On the open-air floor, two guys were performing some of the slickest, funkiest, and grittiest disco music I have ever heard. The duo’s singer, Massimo Bastasi, was covered in pink feathers, all-over body glitter, and sang his heart out to an acid-driven version of Madonna’s “Music” under a big disco ball.
I had no idea who Hard Ton were. It was obviously all unexpected, but I so vividly remember that performance. People were dancing as the sun rose, everything reeked of fresh urine, and the suspended disco ball illuminated the duo as Bastasi’s pink feathers swirled around us. I thought it was the most magical intersection of nightlife’s grime and glam, and I obviously became a huge fan of their music after that night.
Feb 2014: St. Vincent—The Digital Witness Tour
Boston, MA.
I had no idea who St. Vincent was at the time, but my friends and I heard about the concert and decided to go. Funnily enough, the day of the concert, we had guest lecturers in our college acting class who turned out to be friends of the choreographer for St. Vincent’s tour. I ended up absolutely mesmerized by the concert—from Clark’s incisive guitar-playing skills to the camp and absurdly theatrical performance.
I very quickly became a fan, and, in retrospect, am also very thankful that she chose Holly Herndon as the opener for this tour. Herndon challenged my music taste at the time, exposed me to a very experimental electronic subculture, and opened up a whole world of underground music that I would grow to love so much over the next few years. I wrote an in-depth review of the concert here.
Oct 2013: Janelle Monáe—The Electric Lady Tour
Boston, MA.
Such an energizing show. I had been wanting to see Monáe perform for a very long time, and this concert did not disappoint. The most memorable moment by far was her performance of “Come Alive (The War of the Roses).”
Witnessing so much punk, high-speed energy in a sci-fi-inspired R&B music show made me feel very grateful for being alive and for being able to experience such intense flurry of emotions.
I wrote an in-depth review of the concert here.
Nov 2010: Lady Gaga—The Monster Ball Tour
Zagreb, Croatia.
This was my first real concert, and by real, I mean I actually wanted to attend and was not dragged by family or friends. My cousin and I traveled to Zagreb, Croatia for this one and took the assignment very seriously. We made custom tees with our favorite Gaga lyrics and spent an entire afternoon gluing smoked cigarettes onto cheap throwaway sunglasses, which we wore to the concert as an homage to the “Telephone” video.
Gaga sets a high bar for what a great concert should look like, and I always say that seeing her perform live is essential to sharpening one’s critical eye. There were so many standout moments on this tour, but I think my absolute favorites were the carnal performance of “Teeth” and the bizarre interludes between sets.
Seeing the Manifesto of Little Monsters interlude, produced by Nick Knight and Ruth Hogben, live at the age of 18 was, in retrospect, a very monumental moment for me. I felt at home, in the beauty of over-the-top theatricality, New York-inspired glam, and otherworldly freakiness. This show taught me—and I imagine many other people as well—that there is glamour and sexiness in being the odd one out.
Photography credits
The photos on this page are works of several incredible photographers, who are listed in order of appearance in the text:
(1) Marie Davidson, photo courtesy of Étienne Saint-Denis. Follow Étienne on Instagram as well. Confidence Man, photo courtesy of Alice Backham. Follow Alice on Instagram as well. Christina Aguilera, courtesy of Chloe Catajan. Follow Chloe on Instagram as well.
(2) Lady Gaga: the first two photos courtesy of Samir Hussein. Follow Samir on Instagram as well. The third photo courtesy of Frank Lebon. Follow Frank on Instagram as well.
(3) Róisín Murphy: Teal suit photo courtesy of Bojan Hohnjec. Follow Bojan on Instagram as well. Red-circle sweater photo courtesy of Ricardo Abrahao. Follow Ricardo on Instagram as well. Pink latex outfit photo courtesy of Connor Timothy Egan. Follow Connor on Instagram as well.
(4) Lady Gaga: all three photos courtesy of Kevin Mazur. Follow Kevin on Instagram as well.
(5) Rosalía: all three photos courtesy of Daniel Sannwald. Follow Daniel on Instagram as well.
(6) Grace Jones; butterfly photo courtesy of Andrea Klarin. Follow Andrea on Instagram as well. Black hat photo courtesy of Gus Stewart. Eye-antlers mask photo courtesy of Gavin Bond. Follow Gavin on Instagram as well.
(7) Rina Sawayama; red dress photo courtesy of Annie Lai. Follow Annie on Instagram as well. Hair tassel photo courtesy of Hendrick Schneider. Follow Hendrick on Instagram as well. Blue background photo courtesy of Greg Lin Jiajie. Follow Greg on Instagram as well.
(8) Robyn; all photos courtesy of Heji Shin. Follow Heji on Instagram as well.
(11) St Vincent; all photos courtesy of Nedda Afsari. Follow Nedda on Instagram as well.
(16) Janelle Monáe: First and third image courtesy of Marc Baptiste. Follow Marc on Instagram as well. Second photo courtesy of Daniel Jackson. Follow Daniel on Instagram as well.
(17) Lady Gaga: Manifesto of Little Monsters video screenshots courtesy of Nick Knight and Ruth Hogben.