British-born Suki Waterhouse has built an impressive career across multiple industries, moving seamlessly between modeling, acting and music. While her role in the hit series “Daisy Jones and the Six” introduced her musical and acting talents to a broader audience, 2022 marked her true breakthrough as an indie-pop singer-songwriter with the release of her debut album “I Can’t Let Go” and a tour alongside Father John Misty. Waterhouse firmly planted herself in the music scene while opening for Taylor Swift during Swift’s record-breaking Eras Tour at London’s Wembley Stadium, the cherry on top of an already stellar year. It’s clear Waterhouse is brimming with creativity, and that energy was on full display during the opening night of her North American Sparklemuffin tour.
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The tour, in support of her second studio album, “Memoir of a Sparklemuffin,” brings to life a surreal, dreamy soundscape that feels both intimate and cinematic. The 18-track album offers lush arrangements and heartfelt moments, and the live show captures the same magic, blending her love for classic Hollywood glamour with her distinct indie-pop sensibilities.
The stage design set the tone for the night, resembling a 1950s movie soundstage wrapped in a dreamy wilderness scene. Lush plants framed a grand piano, and her talented three-piece band — Raj Jain on guitar and backup vocals, Emilia Paige on drums, and Myqle Motorcycle on bass—were dressed in sleek suits, adding to the cinematic vibe. At the center of it all was Suki, dressed in a pink top with flowing fabric and a fuzzy black robe, performing under the glow of a giant disco ball. She stood like the heroine of a film, embracing the role with a natural, almost effortless charm. Halfway through the night, she swapped out her shoes for something more comfortable, a small, relatable moment that endeared her even more to the audience.
Kicking off the set with “My Fun,” Waterhouse transported the audience to a nostalgic summer day, prancing across the stage in a classic rock style reminiscent of the women she may have studied for her role as keyboard player Karen Sirko in “Daisy Jones and the Six.” It was easy to spot influences from great women of rock history in her stage presence—whether intentional or not, Suki channeled a subtle nod to icons who came before her. Another standout moment came with “Johanna,” a playful track from her 2022 EP Milk Teeth that evoked a lighthearted summer vibe, perfect for a summer party by the pool, slightly reminiscent of a song by The Cardigans. It has an easygoing charm that feels both timeless and refreshingly modern.
“Gateway Drug” introduced a more spacious, groovy sound featuring smoky vocals and an acoustic guitar-driven melody. It set the stage for “Blackout Drunk,” an up-tempo, synth-heavy song with catchy hooks that contrasted beautifully with the previous track. Suki’s ability to seamlessly switch between moods and styles kept the energy dynamic and the audience engaged. They rarely broke focus from her, not even to get videos or pictures on the phone. It was a truly focused crowd.
One of the more unexpected moments of the night came when the band tackled an Oasis cover, “Don’t Look Back in Anger.” While Suki and her bandmates powered through some first-show jitters and technical hiccups, the cover was heartfelt. However, the track didn’t seem to resonate with the younger portion of the crowd as much, surprising given the recent media buzz surrounding the band’s reunion. Even so, it was a great rendition that added a different texture to the set.
Throughout the show, Waterhouse’s fans showed incredible support. Between songs, audience members shouted compliments and words of encouragement, with Suki radiating warmth in return. She shared personal anecdotes, including how this was her largest headline show ever and that her band’s first gig had been as an opener at Red Rocks. These little glimpses into her journey added a layer of intimacy to the performance. Some fans had gone so far as to make custom t-shirts for her, while others held up signs like, “I skipped homecoming to be here.”
Waterhouse’s stage presence is a fascinating blend of melodrama and a laid-back rock star attitude, offering something for everyone. Her set oscillated between the dreamy, cinematic ballads she’s known for and more upbeat, rock-infused tracks, each highlighting different aspects of her vocal and artistic range. Waterhouse’s sound carries influences from Lana Del Rey, but she also brings a clear 60s-70s rock aesthetic, adding depth and a sense of nostalgia to her music. There were moments during the night when her Mazzy Star-like vibes shone through, making it easy to connect the dots between her and some of the greats she admires.
One of the show’s most memorable highlights was her performance of “Good Looking,” the song that exploded on TikTok and catapulted her music career to new heights. With a whimsical introduction about writing songs about good-looking boys, Suki dove into a sprawling, emotionally charged performance that felt like something straight out of a film. Wind machines added drama, while the band, sharp and polished, delivered one of their best performances of the night. It was the perfect way to close the show, with the audience belting every lyric in unison.
Overall, Suki Waterhouse’s stop in Denver on her Sparklemuffin tour was a testament to her versatility and growing prowess as an artist. Her live vocals are powerful, her sense of aesthetic sharp, and with each new project, she seems to further carve out her unique place in the music world. While there were some minor first-night kinks, it’s clear that her performances will only continue to get better as the tour progresses. If you’re searching for an underrated yet immensely talented voice in the indie-pop scene, Suki Waterhouse is one to watch.