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The Novo in Downtown Los Angeles has long been recognized by locals as a theatre for emerging musical acts to make their mark. Its staging is not over-the-top, nor is it undersized, but on Saturday night, the indoor club transformed into a portal of opulence for one woman: Argentine singer-songwriter Nathy Peluso, who made the most of this space, and very clearly demanded more of it.
In the span of a nearly two-hour showcase, Peluso nimbly maneuvered from genre to genre, with no limit on the number of twists: poignant power ballads, razor-sharp raps and salsa sequences with elements of Brazilian funk, EDM and bachata scattered throughout. The setlist reflected the best of her catalog but placed a shining light on “Grasa,” Peluso’s 16-song LP that won three Latin Grammys last year, including nods for best alternative song (for “El Día Que Perdí Mi Juventud”), best rap and hip-hop song (“Aprender a Amar”) and best long form video (“Grasa”). Continuing the celebration, Peluso set out on a European jaunt and her first tour dates across the United States.
Considering Saturday’s show was Peluso’s second-ever performance in the city, in addition to being the final bow of this tour, L.A. fans were primed and ready. The general sections — comprised of a wide demographic of all ages and descents (Peluso sings in Spanish, English and Italian) — of the venue turned into dance floors as concert-goers mimicked what they saw: Peluso airly prancing across the stage during the salsa portions of the evening for songs like “Mafiosa,” “Puro Veneno” and “La Presa,” with the latter featuring a theatrical delivery from Peluso calling out to la policia and dancing against a makeshift cage.
Peluso follows these red-hot moments with emotional shifts. Before you know it, she’s on the floor, her body sloped across the carpeted steps of her stage design. And all throughout, her vocals never flounder — her vibrato is as honeyed and robust as it is on the floor as when she’s standing upright, nor does it tremble when her hips sway to “Erotika,” a lavish and erotic salsa reminiscent of the genre’s 90s classics.
Peluso didn’t need backup dancers or any elaborate quirks to make this show feel as big as it did. In fact, the longest Peluso left the stage was less than a minute. In these cases, you can easily pick up on the relationship an artist has with the music or narrative they’re presenting. For Peluso, who sings and dances and acts with a palpable swagger, it seems she’s completely engrossed in a colorful world of her own making, and is overjoyed by having us watch.
While the audience caught their breath, Peluso remained remarkably composed, and described the tour as feeling “like a movie — it’s all been like a movie,” she concluded. “My story is short still, but thank you for being here with me now."
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“I received plenty of comments saying it was far too soon to ‘go solo’,” Geese frontman Cameron Winter told NME last year while reflecting on how people initially reacted to his decision to branch out on his own. “Most likely because a lot of folks assume that ‘solo albums’ only happen once a band has passed its peak and that they usually feel like uninspired cash grabs.”
Honestly, everyone is trying to earn a living however they can these days, yet no one expected a Geese side project to generate any real financial payoff in 2024. “Just so you know,” he went on, “my solo album is different: because barely anyone knows my band, I am young and comfortable living with my parents and I have the freedom to follow any ideas that interest me.”
Brooklyn indie followers and former NME cover stars Geese were gaining real momentum when their second album ‘3D Country’ mixed cowboy psychedelia with a jazzy, art-punk energy that had already captured the attention of many UK 6 Music dads back in 2023, but who could have predicted what came next? Geese have become one of the most talked-about bands of 2025 and are expected to dominate multiple end-of-year lists with the ambitious and full-range rock of ‘Getting Killed’. Yet the moment that set the stage for this rise was Winter’s Lou Reed-inspired debut solo record ‘Heavy Metal’.
A handful of late-night US television appearances and a spot on Jools Holland acted as a welcoming doorway for the world to see what this 23-year-old can do far beyond what many twice or three times his age are capable of. Now the sold-out Roundhouse audience made up of indie teens, art school regulars, fans who traveled across Europe and seasoned listeners reacts with a collective breath as a slight opening in the stage curtain reveals the silhouette of Winter seated at a piano. First comes a spark of excitement, then a sudden hush.
There is no flashy social media moment, no chatter overriding the music and almost no sea of raised phones. There is a sincerity to how the night unfolds. The Geese singer barely turns toward the audience. “Turn around!” someone calls out from the balcony at one stage. “Is this not enough for you all?” Winter teases back. For some, maybe it was more than enough. At least four people appear to faint around the warm and crowded Roundhouse while the room stands in absolute focus as Winter moves through the dreamlike storytelling of ‘Try As I May’, the emotional swirl of ‘The Rolling Stones’, the bright lift of ‘Love Takes Miles’ and the sermon-like stomp of ‘Nausicaä (Love Will Be Revealed)’. When he reaches the intense and spiritually charged ‘$0’, even the most skeptical hipster might be convinced that “I’m not kidding, God is actually real”. In that moment, it feels as though we all understand.
The entire performance can be summed up in how ‘Drinking Age’ unfolds. It starts softly with a gentle touch on the keys before erupting into a thunderous attack on the Steinway that could echo into next year, followed by a long, open cry aimed toward the sky. Winter somehow manages to blend something minimal with something enormous, something grounded with something cosmic, a delicate approach that hits with staggering force as he reaches toward ideas of existence, heaven, hell and everything surrounding them.
Winter could recite the phone book and still leave a crowd stunned. He carries the spirit of a post-punk Rufus Wainwright you can play alongside The Strokes and Arctic Monkeys, a Gen Z Tom Waits for listeners exhausted by TikTok overload, a new Nick Cave who arrives at exactly the moment he is needed. His voice feels older than his years yet perfectly suited to express the concerns and emotions of his own generation.
We will continue praising Geese endlessly because they deserve it. They are an extraordinary burst of musical creativity that goes far beyond what their lineup would ever imply, and along with Fontaines D.C., they are poised to become one of the decade’s essential bands. Still, tonight offers something quieter and more intimate. Cameron Winter stands completely on his own power, talent and magnetism, proving himself a rising force who can hold an entire room with only his voice, a piano and an entire future waiting for him.
‘Try as I May’
‘Emperor XIII in Shades’
‘The Rolling Stones’
‘Love Takes Miles’
‘Drinking Age’
‘Serious World’
‘Nausicaä (Love Will Be Revealed)’
‘If You Turn Back Now’
‘Vines’
‘Nina + Field of Cops’
‘$0’
‘Take It With You’
‘Cancer of the Skull’
