Banshee’s “Fairy Rock” takes flight with debut tour
Banshee’s unique style blends her soft voice and metal-inspired scream
Banshee
Middle East, Cambridge
Aug. 29 - Sept. 6
Banshee’s “Fairy Rock” Takes Flight
On Friday, Sept. 6, the upstairs room of the Middle East in Cambridge, Massachusetts buzzed with the kind of energy only a debut tour can create. The crowd anxiously awaited Banshee, a singer-songwriter who has gained popularity on TikTok with her “fairy rock” style that has carved out a niche in alternative music. Born Rachel Dorothea Knight and based in Los Angeles, Knight officially started releasing music under her stage name in 2018.
Although the concert was originally planned to begin at 7 p.m., opener KANNER took the stage closer to 7:45 p.m. This delay did little to dampen the excitement of the crowd. The Middle East’s basement is known for its intimacy — the low ceilings, brick walls, and tightly packed floor encourage a closeness that can feel claustrophobic at times, but at the same time allows the performers to directly interact and party with the crowd.
KANNER opened with an energy that instantly lit up the room. The Los Angeles-based artist is still establishing her identity in the crowded indie-pop scene. She embraced maximalism, both in her music and in more visual aspects. Her bright red curls practically glowed under the stage lights, and her neon-green glitter eyeshadow shined as she bounced around the stage in a sporty-ethereal outfit: a jersey top with a fluffy skirt that stuck me as a blend between Charli XCX and Chappell Roan.
Her set included at least eight songs, each marked by sharp electronic textures and an emotional rawness brought out by her powerful voice, including “BULL IN A CHINA SHOP” and “meat,” a collaboration with Hey Violet. She highlighted “Kissing Concrete,” a reflection on the importance of being sufficiently “selfish” to protect one’s well-being. KANNER’s performance thrived on contrasts: abrasive yet glamorous; vulnerable yet commanding. Her voice carried elements of pop and punk, making it the perfect opener for Banshee by setting the scene for a night of artists who resist categorization.
After a short break, the room dimmed, and Banshee stepped onto the stage donning a dreamy, cottagecore-meets-gothic white dress that was a part of her viral Tiktok outfit. Her long, curly red hair flowed down to her waist, adding to her spirit-like appearance.
The beginning of her set featured songs showcasing the duality of her style, with gentle melodies that suddenly shifted into guttural growls and metal-inspired screams. This tension between delicacy and intensity was responsible for drawing in a large portion of her fanbase. She also shared some of her unreleased songs, giving the audience ideas as to where “fairy rock” might go next. These leaned heavily on juxtapositions between soft vocals and distorted guitars or whispered verses exploding into screams.
Midway through, Banshee briefly left the stage before returning in a tiara and a shorter white dress embroidered with flowers. The second half of the show focused on fan favorites such as “Sirencore” and “Force of Nature,” as well as her cover of Lana Del Rey’s “High by the Beach.”
Throughout the night, Banshee focused on the experience and enjoyment of the audience, with whom she shared several sweet moments. Some audience members handed her handmade bracelets, while others were invited to sing into the mic. These moments created an atmosphere that felt less like a concert with a performer and her fans, and more like a communal gathering of fellow music enjoyers.
Much of Banshee’s music focuses on the self and the need to fight on in spite of oppression or abuse, themes that resonate with her personal past. “I may be a doe / But my knees will not tremble,” she sings in her 2025 Fables album. I was particularly struck by the way she conveyed emotion using her voice, and I sensed fear, anticipation, and anger as she moved through her lyrics.
Banshee’s voice remains her greatest asset. The way she shifted from delicate tones to guttural growls was truly impressive. However, her stage presence sometimes felt unsure. Compared to KANNER’s confident control, Banshee sometimes appeared shy, often pointing the mic at the audience or dancing with a sense of hesitation.
This wasn’t necessarily a flaw — it might have even enhanced her appeal. Many fans were drawn to her because of her image as a musician rather than a polished pop star. Still, in moments when the energy dipped, I felt that she had room to grow in commanding a crowd. It remains to be seen whether this growth will come from more tours, increased confidence, or simply the passage of time.
Nonetheless, one thing was clear: Banshee’s “fairy rock” has found its audience. The Middle East was filled with fans who not only knew the lyrics to her songs but also brought gifts and were eager to support her growth.
The concert was not perfect, but it was unforgettable. It captured the essence of an artist still finding her place on stage despite her already substantial social media-based fanbase. If Banshee occasionally seemed unsure, her crowd’s enthusiastic response suggested that fans were more than willing to grow alongside her.