Ethel Cain’s Willoughby Tucker Forever Tour at The Anthem
By: Michael O'Shea
The Willoughby Tucker Forever tour haunted the Anthem in D.C. September 5, what singer-songwriter Ethel Cain referred to as “the wildest house in Nebraska,” which is, of course, a reference to her song “A House In Nebraska.” Hayden Silas Anhedönia tells the story of her character Ethel Cain, which also serves as her stage name, through her works, most recently the album Willoughby Tucker, I’ll Always Love You. This specific chapter of the story recounts the story of Cain (the character) and her summer romance with Willoughby Tucker.
The show proved to be a technical masterpiece, which was evident from even the opening act, seven-piece shoegaze band 9Million. The impressive lighting design for 9Million’s set was indicative of what could only be even better in the headlining Cain’s set. Matthew Tomasi, frontman of 9Million, has worked closely with Anhedönia throughout her musical career. The band, though a completely different sound from Cain, garnered a very positive response from the audience through their interactive stage banter and pop-rock-adjacent shoegaze.
In an entrance that decisively set the tone, Cain appeared behind a cross in the clearance of a cloud of smoke set to “Willoughby’s Theme.” Centered on a platform adorned with foliage and crowned with Spanish moss, this cross served as Cain’s microphone stand. Beginning with “Janie,” she unleashed her chilling, studio-like vocals on the crowd, crooning, “I will always love you.”
Through the next few songs, “Fuck Me Eyes” and “Nettles,” which were released as singles ahead of the album, what stood out was the technical marvel of the show. The vocal mixing was beautiful, neither the instrumentation nor the vocals overpowering the other. On the other hand, the lighting was gorgeous; often, Cain was backlit by golds, oranges, and purples, creating a picturesque silhouette of her against the cross. Other times, the lighting immersed the audience in Cain’s world as they synced to the beat.
Cain’s cult following did not disappoint as an audience; though reactions varied by song, the audience was always enthusiastic. They showed support through their quiet reverence during “Nettles” and the high energy during “Dust Bowl.” Though there was a slight dip in audience engagement through the portion of the show centered on Perverts, Cain’s previous album, she managed to hold my attention; as she reached her hand out to the audience, I felt compelled to reach back. The performances of “Vacillator” and “Onanist” were characterized by their drone sound and perpetuated strobe lights. During “Onanist,” she moved in a jerky yet fluid manner, calling to mind the ghosts of horror movies. This, to me, was pure Ethel Cain, an embodiment of the dark themes (such as abuse, generational and religious trauma, and sexual extortion) and experimental sounds she has consistently explored throughout her career.
Cain did, of course, have to face an environmental factor that plagues shows at the Anthem: heat. She had to cut “A Knock At The Door” short to request medical attention for multiple fainted audience members. Unfortunately, Cain did not pick up where she left off, instead moving on to “Tempest.” Followed by “Waco, Texas,” the two songs built into a cinematic shot of Cain behind the cross bathed in a golden glow, rear spots on her to close out the main show in a callback to the beginning.
At the end of the show, the audience was craving her pre-2025 music. Relief came in the form of an encore, which consisted of “A House In Nebraska,” “Crush,” and “American Teenager.” These songs reinvigorated the crowd, coming alive with much more energy than ever before. Cain encouraged us to sing along to “A House In Nebraska.” In the preceding pop tracks, the audience continued to gain energy, and so did Cain herself, leaving her spot at the mic, which she had clung to for the majority of the show, to traverse the stage.
It’s impossible to leave an Ethel Cain show without being moved by the raw emotion ingrained into every song. In every regard, the show was outstanding, though no less is to be expected of anyone as dedicated to their artistry as Cain. Credited as a writer and producer on every track of the album (most of them the sole writer and producer), it’s safe to say that Cain is a born storyteller and performer.