May 24, 2024

On her current North American tour, British pop singer Maisie Peters is particularly excited to perform in Sacramento, California.

Why? The impact of Greta Gerwig.

According to Peters, “that’s like a ‘Lady Bird,’ Greta Gerwig pilgrimage,” he recently told The Associated Press. I’m looking forward to it, so.

After releasing her sophomore album “The Good Witch” in June, Peters went on a tour of the United States and Canada. Five dates serving as Ed Sheeran’s opening act are interspersed; Sheeran signed Peters to his Gingerbread Man Records in 2021 after she previously supported him in Europe and Australia. Her biggest headlining performance to date was delivered at New York’s Radio City Music Hall, marking a new accomplishment.

In a Zoom call prior to her performance in Montreal, Peters, 23, stated, “It was very surreal, it was like a real moment.” Few artists have the opportunity to do anything like that.

Tina Hizon, the keyboardist for Peters and a friend of more than five years, had been looking forward to that occasion.

“I felt quite emotional when we were on stage,” Hizon admitted to the AP. “Like, oh, man, we’ve come a long way.”

These aren’t exactly the largest crowds Peters and her band have experienced; they already performed at Chicago’s Lollapalooza earlier this month and Glastonbury’s Pyramid Stage in June. In March, Sheeran performed twice at the Melbourne Cricket Ground, drawing a record 215,000 spectators.

The tour, though, is their own. Additionally, it is a celebration of “The Good Witch,” an album that Peters claims she is “at peace with” because it achieved her goal of accurately representing who she is at this time. Growing up (“Coming of Age”), moving on (“Run”), taking charge (“You’re Just a Boy (And I’m Kinda the Man)”), letting go (“There It Goes”), and being, well, insane (“BSC”) are all themes on the album. The UK charts saw it enter at No. 1.

It is also music that effortlessly accompanies what has been affectionately referred to online as the “summer of girlhood” — a celebration of all things sentimental and angsty, pink and sequined, emotional and too analytical — in the wake of occasions like Taylor Swift’s Eras Tour and the publication of Greta Gerwig’s “Barbie.” Peters accepts this classification.

“She’s the stereotypical 20-something teenage girl, fun. And I’m such a young girl in her 20s,” she joked of her concerts, employing a line that has inspired tens of thousands of tweets and TikToks that frequently make reference to fandoms, avoidant adulting, and nostalgia. She claims that in the greatest way conceivable, the shows are “like a birthday party when you’re in middle school.”

According to her, the album “feels very right,” as does that energy. “To feel so secure and confident in what you created and to be able to share that with the world is very calming and nice.”

Fans donned beaded friendship bracelets and baby t-shirts embroidered with some of Peters’ best-known lyrical one-liners at Radio City earlier in August, including “Little miss unstable,” “I am unhinged,” and the phrase she wore on her own garment at Glastonbury, “Women’s hearts are lethal weapons.” Peters, a self-proclaimed fangirl, paid tribute to both her own and her fans’ maturation by incorporating a version of One Direction’s “Night Changes” into a medley of songs from across her repertoire halfway through her performance.

Being a teenage girl in her 20s is one of Peters’ qualities, which was mentioned previously. Her lyrics are both personal and attempt to generally express what it’s like to be a young woman in 2023. She makes precise references to famous people, both real and made-up, that give the impression that the listeners are on to her inside joke. She makes references to her earlier writings to support her personal mythology.

In 2019, a 28-year-old woman named Kaitlyn Cunningham heard Peters’ music on an Apple Music playlist. She came to each of her four performances in New York City.

That’s my favorite element of music, and I love how she was able to draw from her past lyrics and personal experiences to write these songs that everyone can identify with, said Cunningham.

The album’s final tune, “The History of Man,” is a mainstay. “He stole her youth and promised heaven, the men start wars but Troy hates Helen,” the bridge’s first line reads. Did you hold my heart and feel threatened? Because women’s hearts are deadly weapons.

According to Peters, the song is “sort of half-jokingly always about the never-ending pain of being a woman.” It also seems very “Little Women”-, Jo March-, Greta Gerwig-, and “Barbie”-coded, as I’ve heard from folks ever since the song’s release.

Cunningham packed as many imitation sunflowers as she could to Peters’ Radio City performance in homage to two lines from the song “There It Goes.” After asking that the flowers not be thrown, she distributed them to the crowd in the pit and told them to hold them during the song.

Cunningham remarked, “It’s so much fun to see familiar faces (at the events) and to know that everyone is there because we all adore Maisie and want to have a good time. “Everyone is just so friendly and helpful to one another.”

Peters is proud of the community he has built through TikTok, Discord, and an Instagram book club.

She praised her performances, saying, “I just love seeing people so totally in the moment, just losing their minds and making friends.” She has also learnt how to bring that enthusiasm to the stage from seeing her “boss,” as she refers to Sheeran, perform. On Saturday in Seattle, Peters will be Sheeran’s opening act for the first time in the country.

Wherever he travels, she said, “Ed’s so good at holding a crowd, involving them as well, and making them feel like it’s as much their night as it is his.” “This is a fun night out. I want my shows to have that vibe.

Peters paused midway through his performance of “Not Another Rockstar,” a hit with the audience, at Radio City.

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