Fresh from supporting Bring Me The Horizon’s world tour, Cassyette brought her ‘This World Fucking Sucks’ tour to London’s intimate Courtyard Theatre, delivering a performance that proved why she’s rapidly becoming one of alternative music’s most compelling voices. The contrast between her recent arena appearances and this closer setting only served to highlight her versatility as a performer.
Opening with the explosive ‘Ipecac’, Cassyette immediately demonstrated her remarkable vocal range, effortlessly switching between delicate melodies and powerful screams. The intimate venue perfectly showcased her ability to command a space regardless of its size, her presence filling every corner of the room with an intensity that never wavered.
The setlist was a masterful blend of aggression and vulnerability, with tracks like ‘Die Hate Cry’ and ‘September Rain’ showcasing Cassyette’s unique approach to alternative music. Her seamless fusion of pop sensibilities with hardcore elements is a breath of fresh air in a scene often resistant to such experimentation.
‘Mayhem’ served as an early highlight, demonstrating why she’s earned support slots with such legendary acts as My Chemical Romance and Sum 41. The raw energy of ‘Porcelain’ further proved her versatility, while ‘Friends in Low Places’ showcased her more nuanced vocal abilities.
In the intimate setting of the Courtyard Theatre, ‘Dead Roses’ took on new life, stripped of arena-sized production but losing none of their impact. ‘Dear Goth’ particularly stood out, its emotional delivery reinforcing why Cassyette has connected so strongly with her rapidly growing fanbase.
Throughout the performance, Cassyette’s band provided tight, dynamic support, matching her energy and adapting to each song’s unique requirements. The evident chemistry between the performers created a cohesive sound that brought Cassyette’s genre-bending vision to life, a testament to the collective effort behind the performance.
‘Prison Purse’ and ‘Four Leaf Clover’ were standout moments that demonstrated Cassyette’s masterful control over dynamics. ‘Petrichor’ provided one of the evening’s most intense moments, captivating the audience with its raw energy. Cassyette’s vocal acrobatics throughout were not just impressive, but also served the songs, engaging the audience with their emotional depth.
This wasn’t just a performance; it was a statement of intent from an artist poised for bigger stages. Having already proven herself supporting some of rock’s biggest names, this headline show demonstrated why Cassyette deserves attention in her own right. Her blend of pop hooks, rock energy, and electronic elements feels both fresh and authentic, avoiding the pitfalls of forced genre fusion.
As the night concluded with ‘Say My Name’, the intimate venue setting served its purpose perfectly – providing an up-close view of an artist whose trajectory points firmly upward. While she’s comfortable on major festival stages and arena tours, this performance proved Cassyette can deliver the same intensity in any setting.
The ‘This World Fucking Sucks’ tour may have a pessimistic name, but this evening’s performance suggested quite the opposite – that the future of alternative music is in capable hands, with Cassyette leading the charge into an exciting new era.
Review & Photos By Rebecca Bush
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