When Paris announced that she was going on tour in the US in 2025, the hype immediately started. When she came in 2024, she sold out almost every single show, including the one in Nashville. So, it wasn’t a surprise that the same thing has happened again this year even though she has bigger venues on her lineup. The show at the Brooklyn Bowl in Nashville was no exception. The venue was filled with women of all ages dressed in fairy outfits and some even held books in their arms for the little library that Paris set up for the merch table. Before the tour started, Paris made a ‘Cacophony Tour Guide’ post. It included a message to her fans to bring fairy messages and books to her shows, what to wear to her upcoming shows, and where to make connections with other people within her community. When you got to the venue, it was clear that the fans had fully embraced Paris’s invitation. It felt like stepping into a dreamscape, where the atmosphere was an intoxicating mix of excitement, warmth, and a sense of belonging. Everywhere you looked, fans were exchanging notes, sharing stories, and forming instant bonds over their shared love for Paris’s music. The fairy theme wasn’t just a fun aesthetic; it was the spirit of the evening, an embodiment of the artist's desire to create a magical, open space for connection. As fans waited for the show to begin, conversations flourished in every corner, and there was an undeniable sense of community. It gave the show an energy that lingered long after the last song ended.
After the opener, Sarah Julia, the excitement was palpable and emotions were high as the crowd waited for Paris’s set to begin. When Paris’s band took the stage, fans erupted into cheers, calling out their names. But it was when Paris finally appeared that the room truly ignited, and screams of joy and anticipation filled the venue. The entire space seemed to shift, the crowd buzzing with energy as Paris took her place at the mic. She opened the night with “my mind (now),” which fit really well since it is the first track on her Cacophony album. The slow build of the intro seemed to mirror the emotional journey Paris was about to take fans on, easily drawing us all in. As the intro to the song unfolded, the fans seamlessly became the backing vocals, filling in the gaps and singing along with every word. When the chorus hit, the crowd's voice soared, lifting the energy of the venue to new heights. It wasn’t just a concert, it was a union, with the audience and Paris intertwined in a moment of collective artistry. The setlist was beautifully picked, showcasing not only her newer material from Cacophony such as “bones on the beach”, “the warmth”, and “triassic love song” but also older fan favorites such as “the fruits” and “hunter”.
We also got to hear “The Rider”, one of Paris’ latest songs that was featured in “Lord of the Rings: The War of the Rohirrim”. The song was insanely powerful and Paris even stepped off the stage and sang along the barricade with her hand raised. Fans in attendance raised their arms in response as Paris looked at everyone with pure pride and joy on her face. She ended the night with “labour”. Women and men alike were screaming the lyrics at Paris as the message of the song reverberated. The song closed with the lyric “It’s not an act of love if you make her! You make me do too much labour!”, and some people were crying as the song closed. As the last notes echoed through the Brooklyn Bowl, you could feel the sense of euphoria mixed with a bittersweet longing for the night not to end. Fans were reluctant to leave, knowing that they had just experienced something truly special. They were a part of a night where music, community, and Paris's authenticity collided in the most beautiful way. The Nashville show was a testament to the power of connection, both with the artist and with one another, proving that her tour is more than just a series of performances. Paris’s tour is about community, and love, and it's a celebration of shared experiences and the magic that music can bring.
- Ashlee Riggins
Photos Courtesy of Ashlee Riggins (For Bell Music Magazine)
