Lucy Dacus lit up Edinburgh’s Usher Hall with a heartfelt, inclusive performance—showcasing her songwriting brilliance, stage presence, and deep connection with a passionate audience.
Lucy Dacus rolled into Edinburgh’s Usher Hall and delivered a performance that felt as welcoming as it was accomplished. Her exceptional songbook was front and centre in a show that combined emotional depth, clever lyricism, and an inclusive sense of connection. Watching her and her band was like attending a masterclass in stagecraft led by someone who knows exactly how to write—and perform—a great tune.
The set design evoked the parlour of a Southern estate house: a large central door framed by picture frames and flanked by tall white columns. Instruments sat beneath dust sheets as the show began in total darkness. Then, the band burst through the door, spotlights cutting across the hall as they rushed in like squatters, pulling off dust sheets, grabbing their instruments, and launching straight into the first chords—welcoming our host onto the set.
She kicked things off with Hot & Heavy, and from the first note it was clear: this was going to be something special. The audience was locked in immediately. Dacus commanded the room with quiet authority—moving across the front of the stage, waving and acknowledging not just those directly in front of her, but every corner of the beautiful Usher Hall. Her presence felt like a genuine invitation to be part of something together. Her voice carried that same energy—warm, welcoming, but edged with something sharp enough to keep it compelling.
Ankles and Modigliani highlighted her storytelling strength and lyrical precision. She knows how to build a song, how to take you somewhere without wasting a single word. Limerence shifted the mood—darker and more vulnerable. You could feel the room collectively lean in.
Her band was excellent—tight, well-rehearsed, and relaxed. Their chemistry felt authentic, both among themselves and with the crowd. It was a performance honed to near perfection but never clinical. It breathed.
When a fan shouted for Triple Dog Dare, she didn’t hesitate. It takes confidence to shift gears mid-set, but she made it look effortless. Talk and Big Deal followed, keeping the energy and momentum flowing naturally.
Come Out was a proper moment—you could hear a pin drop during the quiet sections. That’s when you know you’ve got the audience exactly where you want them.
At the centre of the evening came an intimate acoustic section. Dacus brought out a purple chaise lounge and sat with her band gathered around on stools. The energy shifted, but the spell didn’t break. For Keeps in that setting was beautiful—stripped back, but still powerful.
Then came Partner in Crime, which she explained had been written in Edinburgh back in 2019, in the green room of the city’s Voodoo Rooms. Another fan request for Cartwheel followed—and again, she rolled with it. The acoustic arrangement was gorgeous, her voice floating over the simple guitar work like it was always meant to be that way. I Don’t Wanna Be Funny Anymore hit hard—raw, honest, and unflinching.
Most Wanted Man and Lost Time brought the energy back up. During the latter, she paused mid-song when someone in the crowd needed medical attention. She handled the moment with total class—ensuring the person was okay before continuing. It was a reminder that, for her, the music comes second to the wellbeing of the people in the room.
The encore was a triumph. True Blue, from boygenius, reminded everyone that while she’s part of something bigger, she remains wholly her own artist. Then came the surprise: Dancing in the Dark, a Springsteen cover she’d never done on tour before—another fan request. She absolutely nailed it.
She closed with Night Shift, the perfect ending. A song that’s an emotional journey in itself, it left the entire room buzzing with that rare feeling you get when you’ve witnessed something real.
Lucy Dacus is the real deal. Solid songs, delivered with heart, by someone who respects the craft and clearly loves her audience. Edinburgh got a proper treat.
Words: Graeme White @head_in_the_bass_bin
Pictures: Allan Petrie @albabrae