There was no April foolery at Bristol’s Electric. Just a show of maximum intent as Holly Humberstone returned to the stage in hot anticipation of her forthcoming album Cruel World, set for release next week on April 10th. 

As 9pm struck, quite fittingly a slow, chiming countdown echoed through the room, clock ticks cutting through the air before melting into the haunting intro of Make It All Better. The opening moments arrived steeped in atmosphere, riding through emotional chord progressions and expansive arpeggiated synth patterns. A blistering introduction to her new music. 

It’s hard not to think back to earlier performances - particularly that emotional, slightly shaky-voiced set on the John Peel Stage at Glastonbury where the weight of the moment nearly caught up with her. Fast-forward to now, and the difference is unmistakable. 

There was a new ease to her movements, a confidence in her delivery, and a willingness to lean into the crowd between songs. Time and again, she paused to thank the audience, almost in disbelief at the support in front of her. It’s a quality that’s remained unchanged, even as everything else has grown - that sense that she’s still taking it all in, still aware of what these moments mean. 

Set highlights came thick and fast. Paint My Bedroom Black landed with its familiar punch, while Down Swinging carried a sharper edge live, its emotional weight cutting through even more clearly. 

Elsewhere, Into Your Room and The Walls Are Way Too Thin were met with a huge singalong, the crowd hanging onto every word. But what stood out most, was the balance she struck between vulnerability and control. The newer material, particularly Beauty Pageant, hinted at something bigger, far more expansive, without losing the emotional core that’s always defined her as she delivered it with crystalline vocals.

By the closing stretch, the connection in the room felt complete. Drunk Dialling, described as a late-night call to an ex, landed with a raw honesty, before Scarlett swelled into a full-voice orchestra, the crowd carrying every word.

Stripped back, fans got a further taste of new material with a two-track encore that opened with Lucy, a piano led ballad that showcased her powerful storytelling, before fan favourite Dive cut through with a deep intensity. "You're such a fucking liar, Camille" is a line I'm sure she'll not tire of hearing a crowd scream back at the top of their lungs 

With the new songs weaved seamlessly in to the set, it wasn’t just a step forward, but a glimpse of an artist settling fully into her own space, with a crowd ready to follow wherever she goes next.

*****