Nearly three years have passed since we first encountered Lizzie Esau live. Even then, her talent was unmistakable, but the North East singer-songwriter carried an air of nervousness—an endearing, almost tentative stage presence that hinted at her raw potential. Fast forward to 2025, and a sold-out crowd at The Louisiana witnessed a remarkable transformation. Lizzie Esau 2.0 has arrived—a bona fide indie rock powerhouse with the poise and polish of a future star.
In the years since, support slots with Baby Queen, The Amazons, and UPSAHL have provided Esau with invaluable experience on larger stages, and it shows. Her evolution as an artist has been as prolific as her song writing, which has spanned over a decade. With three EPs to her name—including last autumn’s fiery Spilling Out the Truth—her expanding discography already offers a compelling mix of introspective lyricism and full-throttle indie rock. Tonight’s set not only showcased fan favourites but also hinted at the future, with two unreleased tracks getting an airing. Speaking post-show, Esau exuded excitement about the wealth of new material waiting to be unveiled.
The transformation is striking. Artistically, her song writing has grown in depth and nuance; onstage, her presence is nothing short of commanding. The once-reserved performer now possesses the effortless confidence of a frontwoman who owns the stage. Where there was once hesitation, there is now swagger.
From the moment she stepped into the spotlight, it was evident that any lingering stage nerves had been left firmly in the past. There was no easing into the set—Esau came out swinging. Backed by her band—Joe Bennison (bass) and two new additions Janet Waugh on lead guitar and Conor McBride on drums—she launched straight into Wait Too Late, attacking the track with a ferocity that The Louisiana’s intimate space could barely contain. The response was immediate. Overheard reactions from first-time audience members ranged from murmurs of approval to outright astonishment—an unmistakable sign of an artist making a lasting first impression.
Across a dynamic seven-song set, Esau deftly balanced her past and present, offering glimpses of where her sound has been and where it’s headed. Killer, from 2023’s Deepest Blue, remains an underappreciated gem, while Impossible and Strange—from her most recent EP—saw her ditch the guitar in favour of an uninhibited, full-throttle performance. The night’s two unreleased tracks, Bugs and Day in the Life, suggest even greater things to come. The former, in particular, carries the kind of immediate hook that demands an instant spot on a Spotify playlist.
No Lizzie Esau show would be complete without Bleak Sublime, a track that has amassed nearly a million streams and become her de facto anthem. Tonight, the audience embraced it with full-throated enthusiasm, singing along with the conviction of long-time devotees.
With a fanbase already 25K strong and growing with each performance, Esau’s trajectory is only heading in one direction—up. Based on tonight’s showing, it won’t be long before she’s commanding even bigger stages.
@thebristolnomad / @bristolnomad_gigphotography
Role: Photographer / Reviewer / Interviewer
Chief, the one that bugs the team for team for their reviews and images. Creator and founder of The Bristol Gig Guide. Can usually be found swamped in admin or getting cramp kneeling at the front of a gig.
Available for: Gig Shoots, Gig Reviews, Photo Shoots, Album and Single cover shoots, Videography work, Interviews and Touring
First attended gig: Republica, circa 1996.
First gig shot: Hands Off Gretel, at The Louisiana!
Dream gig: Huge metalhead and my ultimate dream gig would be shooting my heroes Slipknot at a huge stadium gig, or as festival headliners. And to experience shooting a headline tour outside the UK
