Lizzy McAlpine’s “The End Of The Movie Tour” Sells Out Terminal 5
Written for NYS Music
Photography by Caroline Zeeman
On Tuesday, May 2nd Lizzy McAlpine returned to New York City and sold out the west side’s beloved Terminal 5. Only a week prior, Lizzy sold out Brooklyn Steel. One night in the big city just wasn’t enough for McAlpine on her “The End of The Movie Tour.” Her debut in the past couple of years has been one to witness. She has accumulated superfans who worship her relatable lyrics and sweet sound-blend of it-girl pop with classic grunge. The success of this tour has been a testament to her talent.
Opener, Olivia Barton, kicked off the night and made the warehouse stage her own. Emanating a similar sound to artists like Lizzy McAlpine, HAIM, Lucy Dacus, and so on – Barton culminated her own stage presence with her innocently raw lyrics. Her own sound. The crowd volleyed Olivia’s lyrics back to her from the pit and the balconies, and her excitement became a tangible energy. The set flew by, and when it came time for Barton to say her goodbyes, it was bittersweet.
In between Olivia Barton’s opening set and Lizzy’s second show-face in New York City, the crowd hummed in a unified frenzy. The speakers were blasting popular Y2K pop-hits and nostalgic Disney songs by artists like Hannah Montana and Demi Lovato. Friends, couples, fathers and daughters, and solo-fans were conviving to belt the universally appreciated lyrics. Later in Lizzy’s set, she praised Olivia: “She really gets it. Her writing is so human. She’s so special, and I’m so grateful to have her on tour. I listen to her backstage, and I’m in tears!”
Fifteen past nine o’clock, the lights cut and the bass rose to a body-shaking intensity. The infrastructure of Terminal 5 holds sound so impressively, but the deafening screams echoed riotously. Blue and purple lights slowly expanded their coverage across the stage to reveal a bedroom set-up. Framed posters and window panes clung to the back of the stage. The setting felt familiar, like the space that held so much of one’s life. The love, the heartbreak, the friendships, the sleepovers, the daydreams.
After a lengthy instrumental introduction, followed behind her band, Lizzy skipped out onto the stage. Her outfits on tour have been widely complimented, and on Tuesday she did not disappoint. Adorned in a denim corset and casual blue jeans, she stood in pure happiness as she grinned out towards the crowd. “I’m gonna play some songs for you, and it’s going to be great! We’re gonna have a great time!”
As Lizzy progressed through her setlist, she took intentional time to explain the story behind each song. The crowd bent their ears to listen to every detail she shared. “This song is about slurpees!” A roaring applause. “This song is about ignoring red-flags.” Friends grabbed onto their neighbor’s shoulder to shake in emotional duress. The entire show was a story-telling narrative, full of personal details of precious moments of muse.
Her lyrics were something to hold onto and sit with. Such a fast-paced show left the crowd wanting more time with her music. All of Lizzy’s songs held a cruel casualness to them. I have no choice in the matter // Why would I, it’s only the death of me. It was jarring, quite surreal, to hear such a youthful and kind crowd shouting such intense lyrics. And the funny thing is I would have married you if you had stuck around. Nearby in the crowd, a father watched as his thirteen year old daughter belted the lyrics, clutching her chest as if she’d been wounded.
There is an archetype on the rise in the realm of female artists. Singer/song-writers fanning out under the music industry umbrella of artists like Taylor Swift are leaning into the superpower that is vulnerability. Honesty is celebratory, and young women are writing about having their hearts ripped out, leaving their hometown, stepping into their strength, growing up, and existing as more than empathetic vessels but as a beacon of feminine independence. Barton and McAlpine have branded their names into this visionary artist-type. The influence the music produced by these experimental and brave artists has is unignorable and unifying.
Half way through the set, the Terminal 5 stage setting changed from day to night, and the New York City sun casting through the windows on stage, turning to raindrops streaking down the panes. The familiar chords of Lizzy’s hit “Ceilings” strummed across the venue, and something shifted. The collective crowd voice overpowered Lizzy’s as she sang the notorious lyrics. Fans jumped and wept and sang with their hearts. Tears streamed into wide smiles, as the live performance of “Ceilings” seemed to change lives.
Terminal 5 was blessed with Lizzy’s generosity, for she played two unreleased songs for the Manhattan crowd. The first song was titled “Broken Glass,” which Lizzy explained was about only ever being able to see someone when they’re at the bar. The other song was “I Guess.” Lizzy informed the crowd, “this one is one of my favorites!” While the unreleased songs were showcased, it was the only moment the crowd was silent. The audience wanted to hear every lyric, every note-change, every melody.
The rest of the show rolled out with the same energy. The crowd savored every moment they shared with Lizzy, and when it came time to part, fans had a difficult time leaving. Hands waved goodbye from the packed balconies, and cheers overpowered Lizzy’s own departure. Manhattan seemed to have an impact on her as she left the stage. It was the end of the “The End of The Movie” show in New York City.
