Set in the heart of London’s Soho district, the Palladium has hosted many greats over the decades: The Beatles, Marvin Gaye, Frank Sinatra, and Judy Garland, to name a few. This historic 2,200-seater venue requires a certain level of clout and personality, both of which Young possesses. At the show’s start, she strutted back onstage for her first full live performance in months, blew a kiss to the crowd, and tiptoed to the piano for a hushed solo version of “F–k Everyone,” punctuated only by supportive yelps from audience members. It was absolutely stunning. How’s that for a comeback?

When she collected the Grammy for best pop solo performance earlier this year, she was flabbergasted: “I don’t know what to say,” she said before dropping an F-bomb (because it’s Lola after all). But for those who’ve followed Young’s career since her first release in 2019, the strength of her performances and vocals has never been in question. She sounded superb during tonight’s show, particularly in the first five songs performed with just piano or a solo guitarist. “Spiders,” perhaps her finest song, sounded particularly stunning in this sparse arrangement as did “Why Do I Feel Better When I Hurt You?”

By the show’s sixth song, a five-piece band joined Young onstage to create a fuller sound. “Penny Out of Nothing” from her third LP I’m Only F***ing Myself got the audience up and out of their seats while “Conceited,” a fantastic grooving song from her second album This Wasn’t Meant For You Anyway, had the upstairs balcony wobbling from synchronized two-stepping.

Midway through the set, Young thanked both the crowd and specifically someone who “has come into her life quite recently” sitting in the stalls: James Blake. She pointed him out and made him wave to the crowd while hinting at a potential collaboration for future new material. Blake’s production discography spans electronic and hip-hop but he has also succeeded with Beyoncé and Miley Cyrus in pop music. Hopefully we can add Young to that list.

The strength in Young’s lyrics lies in the knotty contradictions of Gen Z life and predominantly love. “Big Brown Eyes” is a shining example where she sings about an ex she doesn’t need (“I could have anybody else”) but is drawn to regardless (“You can call me b-tch if you say it with your big brown eyes”). In lesser hands, these lines could miss the mark; however, she lives them and sells them with conviction.

Upon its release in May 2025, Elton John made a bold gamble: If Young’s “D£aler” didn’t reach No. 1, he’d give her his house keys. The song peaked at No. 27 in the U.K., which was a disservice to such a catchy pop song; “One Thing” also stalled at No. 18 despite its slinking bass line and sharp chorus. In a live setting, these songs sound fresh and renewed – don’t be surprised if they turn into sleeper hits in 2026. The Rocket Man is rarely wrong.

Young is much more than “Messy,” but that doesn’t mean we should overlook it: It is a bona fide smash and one of post-pandemic pop’s finest songs. It is complicated, accomplished, and brilliant. It’s so ubiquitous among her fans that during mid-verse Young shouts she doesn’t need to sing it because the crowd is doing her job for her. Before the final song, Young called it the “song that changed my life,” and judging by the crowd’s response, its message of self-acceptance changed many lives as well.

“F–k Everyone”
“Wish You Were Dead”
“Big Brown Eyes”
“Spiders”
“Sad Sob Story”
“Why Do I Feel Better When I Hurt You?”
“Walk All Over You”
“Post Sex Clarity”
“Dealer”
“Penny Out Of Nothing”
“Conceited”
“One Thing”
“Not Like That Anymore”
“Messy”