Courtesy of Chantel Malin

On Tuesday, to a packed auditorium in College Street Music Hall, Faye Webster crooned about first kisses, crying — in a good way — and lovers that do not go away. Hundreds of people sang back.

To open the concert, Japanese filmmaker and musical artist Mei Ehara — who previously featured on Webster’s 2021 album on the song “I Know I’m Funny Haha” — gave a serene rendition of selected songs, including her popular albums Ampersands and Sway. Ehara has accompanied Webster on other tour stops.

Shining under the lights of an intimate stage setting, Ehara’s performance was somewhat monotonous, yet therapeutic. She stood solo on the stage, strumming her guitar and singing entirely in Japanese.

After Ehara’s opening, the stage crew meticulously constructed the stage for the main performance. Behind the band hung a fantastically huge T-shirt cutout and racks of plainly-colored shirts, which staff hung one by one.

An expert instrumentalist, Webster and her team showed their prowess over features like stage design and lighting. In songs like “Right Side of My Neck” and “Kingston,” bubbles soared throughout the venue and glimmered in the rainbow strobe lights. 

Slower, more angst-filled songs like “Johnny” and “In A Good Way” were lit in a seductive red. 

Webster wasn’t afraid to experiment with the spatiality of her music, embedding the intimacy of her bedroom-pop acoustics or the familiarity of a retro laundromat into the stage. 

The stage captured just that, with futuristic laundry machines providing additional neon lighting, glowing past the blue clothes hanging just behind — a reference to the 2024 album cover of “Undressed at the Symphony.”

The most notable stage element, which stirred conversation even before the show began, was the comically large white t-shirt hanging on the back wall. Later on in the show, the drape-like surface was used as a projector, casting everything from minions to a Nintendo-style karaoke selection of Webster’s songs. 

Even without this set, Webster’s performance was enough to fill the venue, which seats approximately 2,000 people. Most seats were packed.

Webster’s repertoire exists within the dreamy genre of bedroom-pop. Yet, her setlist was anything but static. From her more-upbeat song “Lego Ring” to the delectably slow “In a Good Way,” Webster showed that softness can take dynamic, different forms. 

To non-fans, Webster’s twangy guitar and easy-going drums seem to blend into one another. But within these musical consistencies and motifs, Webster adds in accents here and there: tambourines, violins and trumpets. 

Throughout the setlist, Webster invited other players onto the stage. Solos from other band members were interspersed throughout the performance. Close to the end of the performance, drummer Charles LaMont delivered an expertly paced and invigoratingly climactic drum solo. 

In her second to last song, “Feeling Good Today,” she brought on her “best friend, Lulu.” 

The all-too-familiar and jazzy bedroom-pop canvas features splashes of Webster’s distinct, artistic color. 

The setlist integrated songs from her most recent album, “Underdressed at the Symphony,” which was released last year. From it, she selected “Thinking About You,” “But Not Kiss” and “Tttttime.” 

Don’t be tricked by Webster’s soft and ambient music; Webster showed that the small could be just as impactful and tantalizing as the big. 

Webster’s slightest movements were enough to captivate audiences. With her back entirely facing listeners, Webster dipped and swayed to the rhythm. Despite the smallness of these actions, the crowd fawned over her. 

Like the inimitable feeling of a “first kiss,” Webster carefully chose when to interact with the audience — and when to draw back. Only once during the concert did she point the mic away from the stage, in which the entire auditorium ruptured into a chorus singing “Lego Ring.” 

Not everyone in attendance was a devoted listener, but for a few verses, it seemed as if the lyrics were sung unanimously. While the melody might have been lost amongst the few diehard supporters who passionately sang amidst pitchless screams, this moment captured the raw emotion and vulnerability of Webster’s music. 

Perhaps the most captivating and dramatic scene in Webster’s performance was the song “Jonny” and its reprise. Webster, who is both the composer and writer for the piece, displays her lyrical command: “Johnny, did you ever love me? Jonny, help me figure it out. Not that I’ve paid attention, but you haven’t said it out loud.”

When the crowd chanted for an encore, Webster did not disappoint. 

Curiously, Webster’s biggest hit, “Kingston,” made its appearance as the final song. But this itself seemed like an intentional choice. 

Beloved by both hardcore fans and casual listeners alike, Webster saved the best for last. At this concert, the climax appeared at the finale, titillating and jolting audiences alive before the final bow. 

Next, Faye Webster is set to perform on Feb. 28 in Portland, Oregon.