There’s a curious buzz outside the Factory Theatre before the doors have even swung open. A queue at 7 PM is a rarity, but tonight marks Beth McCarthy’s first appearance in Sydney, and it’s clear that crowd’s ready. McCarthy’s IDK How To Talk To Girls tour has crossed hemispheres, bringing with it the London-based artist’s unapologetically queer voice, which has already resonated across major festival stages in Europe—BBC R1’s Big Weekend, PinkPop, Reeperbahn. She’s a beacon for the LGBTQIA+ community, her presence both defiant and inviting.
The opener, Carla Wehbe, has grown leaps and bounds since I first saw her at Oxford Art Factory two years ago. Her set is a vibrant, polished pop-rock display, culminating in a sultry cover of Chris Isaak’s Wicked Game that leaves the crowd enraptured. There’s a palpable sense of excitement in the room as Wehbe finishes, and anticipation builds for McCarthy’s entrance.
The pre-show playlist features the usual suspects of modern pop rebellion—Charli XCX, Billie Eilish, Chappell Roan—setting the tone for what’s to come. When McCarthy finally hits the stage, she doesn’t just appear; she roars. From the first note, she owns the space. She’s magnetic, every bit the icon that fans have come to love, with the crowd hanging on her every word, every lyric. The girls on the barrier know it all, and when McCarthy engages them in a singalong, it feels like the whole room is moving to her rhythm.
Of course, it wouldn’t be an Australian gig without someone in the crowd attempting to get her to do a shoey. An old Vans sneaker gets passed forward, and McCarthy laughs, declining with grace and a cheeky smile, promising to consider it—if a better shoe can be found. The crowd laughs. She’s not just playing to us; she’s playing with us. It’s electric, it’s alive, and it’s everything a night like this should be.
