Suki Waterhouse performs in Salt Lake City for the Twilight Concert Series
Published July 31, 2026 · US

Fans gathered at the Gallivan Center in Salt Lake City on July 27th for Suki Waterhouse’s fourth performance of her tour promoting her recently released third album, “Loveland.” Waterhouse’s performance Monday night was the third show of the Twilight Concert …
On July 27th, Salt Lake City's Gallivan Center hosted a vibrant evening of music as Suki Waterhouse took the stage for the fourth show of her current tour. The performance was part of the Twilight Concert Series, marking its third event of the season and drawing the largest audience yet.
Waterhouse’s appearance in Salt Lake City was a highlight in her ongoing promotion of "Loveland," her recently released third studio album. Accompanied by her four band members, she delivered an extensive setlist that spanned her complete discography, blending tracks from all three albums with select fan favorites and hit singles.
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The concert’s atmosphere was enhanced by a carefully curated stage design, featuring symbolic elements such as Cupid’s arrows, abundant red floral arrangements, and a striking silver, anatomically accurate heart adorned with a lock—an allusion to the visuals from her “Back in Love” music video. This thematic setup underpinned the immersive experience that Waterhouse sought to create.
Before Waterhouse’s entrance, the crowd was treated to performances by two rising indie-pop talents. Opening the night was Beeson, a Provo-based artist known for her ethereal vocal style. Dressed in a flowing pink gown, she performed seven songs, including selections from her recent EPs "Last Shot" and "Ritual." Beeson expressed her appreciation for the opportunity to perform alongside artists she admires within the Utah music scene, highlighting the significance of such platforms for local musicians.
Following Beeson, Charlotte Lawrence delivered a compelling set characterized by her signature moody electropop sound and introspective lyricism. Her performance featured a mix of original songs from her 2025 album "Somewhere," including notable tracks like "Fear of Falling" and "Better Than This." Lawrence’s dynamic stage presence was underscored by her alternating between green and pink electric guitars, culminating in a heartfelt rendition of The Cranberries’ classic "Zombie," which resonated strongly with the audience.
Waterhouse’s entrance was theatrical and memorable, starting with ambient red lighting and heartbeat sounds that set a dreamlike tone. A voiceover welcomed the crowd to "Loveland, where the dark turns to light," reinforcing the conceptual themes of her latest work. Her costume—a bold combination of hot pink, black fur, fishnet tights, and distinctive accessories—amplified the visual spectacle.
The artist initiated her set with "Supersad," a track from her second album "Memoir of a Sparklemuffin," and proceeded to perform a total of twenty songs throughout the night, including an encore. The setlist featured ten tracks from "Loveland," such as "Tiny Raisin," "Notting Hill," and "Any Man." Additionally, she included crowd-pleasers like "Good Looking," a hit from 2017, as well as songs from earlier albums, showcasing the evolution of her musical journey.
The concert concluded with performances of "Puppy Dog Eyes" from her latest album, followed by an encore comprising "Model, Actress, Whatever" and "To Love" from her sophomore record. Waterhouse expressed gratitude towards her Salt Lake City audience and the Twilight Concert Series organizers, emphasizing the importance of live connection with fans.
As the Loveland Tour continues through October, Waterhouse’s Salt Lake City show stands out as a milestone, reflecting both her artistic growth and the growing enthusiasm surrounding her music. The concert also highlighted the vibrant indie-pop scene, with the supporting acts drawing attention to emerging talents in the region. Details about upcoming tour dates and further developments remain limited but are anticipated by followers of the artist’s trajectory.
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This article was synthesized and rewritten by MusicTop Editorial from reporting published by dailyutahchronicle.com. Read the publisher's report for the complete source context.
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