The Japanese House serve cute, gender-fluid soup of a show at Liberty Hall

December 4, 2023

Isabella Galvan, Steph Castor,

The Japanese House. // photo by Isabella Galvan

The Japanese House
with Quinnie
Liberty Hall
Thursday, November 30

If you’ve ever been to a sold-out show at Liberty Hall, you understand the thickness of the air. Thursday night was no different as The Japanese House made their way through Lawrence amid a cold autumn rain in support of their recent album, În the End it Always Does—their first U.S. tour in four years. Maybe it was the weather, or maybe we were just hot for Amber Bain’s sultry English accent.

Opener Quinnie kicked off the night with a minimalist-barefoot-crystal-indie arrangement. Perched on a stool with no shoes on and a voice akin to Gregory and the Hawk’s Meredith Godreau, I hesitated to play along in the crowd’s enthusiasm, ready to abandon my seat for a drink. But by song number two, the trio had surprised me with their succulent harmonies and cheeky lyrics. While my patience ultimately earned them a new fan, a showstopper like “itch” or “touch tank” would have immediately sealed the deal.

By the time The Japanese House took the stage, the humidity had tripled. Fans packed in, and the steam rose, emitting a technicolor yacht rock haze as if we were reading frontperson Amber Bain’s aura. Microphones were thoughtfully positioned around the drumset with a white screen in the background to mimic the barebones set design of the album’s official live film.

The Japanese House proved less is more with a set free of theatrics, intricacies, and equipment. Fans were able to focus on the pristine harmonies, flawless instrumentation, and Bain’s adorable hip wiggles as her shoes slipped across the wooden floor. With her coy side grin, baggy jeans, ’90s dad jacket, messy blonde locks, and generally ambiguous sexual confidence—queer or not, we all felt… something.

“This one’s for all the queers in the room,” Bain said, to which everyone cheered as the band launched into their recent ITEIAD single “Boyhood.”

With songs spanning Bain’s discography—from “Sad to Breathe” to “Maybe You’re the Reason” to “Dionne”—the setlist was a neatly packaged assortment of sonic life experiences, seamless transitions, and playful audience-performer appreciation.

The night might have been a little soupy, but The Japanese House produced a live set worthy of the discomfort from sweaty air and tiny seats. It was the kind of show that left you satisfied after just five songs and needn’t a minute more. But it also made you crank the volume on your drive home to give the album the full attention it deserves.

The Japanese House