Faye Webster Spins Dreamy Magic in a Bubble-Filled Launderette

Words & Photos: Amelia Maria / Shooting Sounds

Faye Webster performing in Manchester on her tour. — Photo: Shooting Sounds

Walking into Manchester Academy felt like stepping into a daydream. The stage was transformed into a pastel-toned laundrette, complete with washing machines, blue-tinted lighting, and bubbles drifting lazily through the air. It was surreal, but somehow exactly right for a Faye Webster show—melancholy, comforting, and slightly offbeat.

Opening the night was South London singer Amie Blu, who brought a calm, raw energy to the stage. From the moment she began “Swimming in Pity,” the room hushed. Her voice was soft and intimate, but cut deep—especially on tracks like “Missing Everything” and “Why Do I Bite,” which wrestled with the faults of a parent-child relationship and tangled emotions.

She moved through her set with a quiet confidence, barely speaking between songs but never needing to. “Everything About Her” stood out as a real emotional punch, while “Shadow” and “Falling to Pieces” felt like little sighs of heartbreak. It was a short set, just eight songs, but Amie left a lasting impression. She didn’t command the stage—she invited you into her world.

Amie Blu performing in Manchester whilst supporting Faye Webster's tour. — Photo: Shooting Sounds

Then came Faye Webster, who strolled onstage without fanfare, blending almost seamlessly into the soft blue lighting and nostalgic set. She opened with “But Not Kiss,” her voice laid-back and slightly detached, in that way only she can pull off. It set the tone perfectly: hazy and heartfelt.

From there, the set moved between old favourites and newer tracks. “Wanna Quit All the Time” and “Thinking About You” showed off the more experimental edges of her latest work, while “Right Side of My Neck” brought one of the biggest reactions of the night—a collective gasp of recognition followed by quiet singalongs.

“Better Distractions” and “Kind Of” kept things simmering, before she slipped into “A Dream With a Baseball Player,” which somehow manages to be sweet, funny, and a little devastating all at once. The pace slowed again with the back-to-back punch of “Jonny” and its reprise, before picking up slightly with the understated groove of “Lifetime.” By the time she reached “Tttttime,” the audience was fully wrapped in her world—swaying, eyes half-closed, almost hypnotised. “In a Good Way” felt especially tender live, and “Cheers” closed the main set on a gently defiant note.

She returned for a short encore with “Feeling Good Today,” which offered a flicker of lightness before ending the night on the bittersweet beauty of “Kingston.” As the final notes faded, the bubble machines started up again, filling the air with soft, floating spheres. It was equal parts goofy and perfect.

Faye Webster isn’t flashy. She doesn’t belt or bounce or try to wow you. But she makes music that sticks with you—songs that feel like private thoughts set to sound. With Amie Blu’s emotional opener and a stage that looked like a detergent-scented dream, the whole night felt like a soft unraveling. Heartbreak never sounded so comforting.

Webster is currently touring in support of her new album Underdressed at the Symphony, the tour continues across Europe and the US this summer—if you’ve ever needed a soundtrack to your weird, sad daydreams, don’t miss it.