Erin LeCount Delivers An Intimate Performance To Remember In Brooklyn
Writing and photos by Taylor Gabrovic
Graphic by Rebekah Witt
On February 10, fans of Essex-born rising pop star Erin LeCount trekked through the cold while dodging piles of dirty snow to the intimate, 280-capacity Brooklyn venue, Baby’s All Right, for the second sold-out New York date of LeCount’s La Lune Tour.
The tour marked LeCount’s first time performing in the United States, but it is clear that it will not be her last, nor is it likely that she will be playing such small venues upon her return. Back when LeCount first began selling her tour dates in the United States in October of 2025, tickets sold out immediately, prompting her to add more dates, which, unsurprisingly, also sold out.
LeCount completed the La Lune Tour on February 13 in Los Angeles. Still, she has already announced “THE PAREIDOLIA SHOWS,” where she will celebrate the release of her upcoming EP, “PAREIDOLIA,” in Manchester, Glasgow, London, and Bristol this May. Notably, LeCount will be playing London’s famous Roundhouse venue, which holds a standing capacity of approximately 3,300 people, a tremendous jump from Baby’s All Right’s 280 capacity.
While waiting for LeCount to take the stage in Brooklyn, one could look around and see LeCount’s fashion impact on her fans, who were dressed in their best white clothing, donning ribbons in their hair, and looking strikingly like light gothic fairies and witches. LeCount’s pre-show playlist not only prompted fans to sing-along, but also reflected LeCount’s musical inspirations and her sound. On the playlist, one could hear the songs of Florence & The Machine, Ethel Cain, Lorde, Charli XCX, and more. However, the last song before her grand entrance, “Low” by Flo Rida and T-Pain, has clearly become an inside joke between fans and LeCount.
After leading the crowd in a breathing and grounding meditation exercise via a recording, LeCount took the stage in her signature white, ready to sing, dance, and produce the evening’s show by herself. Later in the show, LeCount shared that while she was brainstorming how the tour would work logistically, she decided that since she produces and makes the music by herself, “bringing this show to you alone felt right.”
She opened the show by performing the title track of her 2025 EP, “I Am Digital, I Am Divine,” where she sings of spilt milk and ‘to ache is to be alive.’ Next came one of LeCount’s biggest tracks, “Marble Arch,” which has garnered over 7.3 million streams on Spotify since its release in March of 2025. Then came “Sweet Fruit,” a track about needing someone ‘to look through and see me, to rip out the weeds/Growing where my heart was.’
After finishing her performance of “Sweet Fruit,” LeCount then took the audience on a bit of a trip down memory lane with some of her older releases. First, she sang “Mind The Gap” from her 2023 EP, Soft Skin, Restless Bones. Before singing that track, she told the audience that she had spent hours recording and sampling sounds from a train station. LeCount then played “Bday Blues,” which is included on the same 2023 EP as “Mind The Gap.”
Next came a stunning, angelic cover mashup of Frank Ocean’s “White Ferrari” and Phoebe Bridgers’ “I Know The End.” This mashup highlighted the similarities between both LeCount’s and Bridgers’ vocals and lyrical themes.
Throughout the show, LeCount repeatedly delved into the stories behind her songs and her personal life, making the show feel even more intimate. Before singing “Godspeed,” LeCount got deeply personal and discussed the experience she had seeing her ex and his new partner and how that prompted her to write the song:
“I sort of had a mini-crisis, because she looked like a younger version of me, and that freaked me out. I went home, and I wrote a song that was half dedicated to her, and then, in some way, dedicated to a younger version of myself: what I wish I could tell her and what I wish I could tell myself in that scenario. And fast forward a year, I had it sitting on my hard drive, and she reached out and asked to go for a drink. So we went for a drink, and we talked (they had ended things). We came back to mine, and I played her the song that I wrote, and it ended with us jumping up and down on the mic, screaming every single word. Her voice is all throughout this track. And there is a really quiet track of us both talking shit for three and a half minutes.”
Next in the setlist was the first song she released for her upcoming EP, PAREIDOLIA: “808 HYMN,” a track ‘about what it feels like to be a woman walking home alone and to have your car keys between your fists as your only weapon.’
LeCount then took the opportunity to discuss the meaning of the title of her upcoming EP, the writing process for it, and how it helped her work through her personal life:
“Pareidolia is the tendency to perceive meaningful connections between things that are not actually connected. So when you look at the clouds, and you see a shape or an animal, that's pareidolia. When you look at the moon and you see a face in it, that's pareidolia. I resonated with that term so much last year while making the EP, and this idea about the brain making patterns between things that aren't correlated because it makes us feel safe... I felt I was presented with two options: I could embrace new and scary things happening to me that are new to the brain and that you perceive as a threat because it's dangerous and new, or I can self-sabotage and go on downward spiral and I do exactly what I've always done and go back to old patterns, old habits, old behaviours. I decided to take the high road, and I decided to live vicariously through an EP that documents the process of a downward spiral and essentially what it's like to choose to go down that rabbit hole again.”
She followed “808 HYMN” with another song from her upcoming EP, I BELIEVE, which was released in early January and has already amassed over 1.6 million streams on Spotify and whose catchy chorus can be found in many videos on TikTok: ‘I'm living in a secular age, looking for someone to blame/Looking for someone to love me, to save or be saved/And so this year I abstained in almost every way/I cut off all of my hair, I didn't eat for days/I couldn't satiate this hunger I contain/You self-inflict the pain, but guilt won't make you clean again.’ While she performed the song, fans held up a fan-project which featured stars that read “I BELIEVE IN ERIN LECOUNT.”
The evening was also somewhat an unofficial single release show, since that night at midnight, LeCount released her next single off of PAREIDOLIA, which is titled “DON’T YOU SEE ME TRYING?” After playing that single, LeCount then played “Heaven,” which she considers the closest thing to a love song that she has ever written. She also sampled voices from the Brooklyn audience for the track’s live production, creating a special, intimate moment for fans that made them feel like part of the show.
The setlist also featured a track titled “ALICE,” which was unreleased at the time of the show and will be included on PAREIDOLIA. Before playing the song, LeCount shared that the song is “about someone who I knew very well, and someone who knew me very well. We sort of became like mirrors of each other, but in the worst possible way. And I wrote a song about the kind of grief when the person who knows you better than anyone is the worst person for you to be around, and when the kindest thing to do for both of your sakes is to never ever see each other again.”
For the second-to-last song of the night, LeCount sang “MACHINE GHOST,” with fans screaming ‘You're the machine and I'm the ghost’ and ‘It hurts to stand, it hurts to stand, it hurts to stand, it hurts to stand.’
She ended her sold-out night in Brooklyn by playing the biggest song of her career thus far, “Silver Spoon,” a track about trying to make a relationship work when you come from vastly different backgrounds and grew up experiencing different things. LeCount shared that when she wrote the track, “It felt so private and so specific to me, and I shared it, but turns out it wasn’t so specific to me after all.” During the performance, fans could be seen waving silver spoons they had brought from their kitchen drawers in solidarity.
LeCount’s show was a reminder of the magic of intimate shows. A reminder that although costume changes and theatrical lighting, visuals, and sets can make a show memorable and grand, sometimes it is just as amazing to be in a small room watching a one-woman show where the artist is passionate about their art and has a magnetic stage presence.