{"id":6025,"date":"2026-08-17T05:35:15","date_gmt":"2026-08-17T05:35:15","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=6025"},"modified":"2026-08-17T05:35:15","modified_gmt":"2026-08-17T05:35:15","slug":"noah-kahan-turns-his-miserable-material-into-manic-elation-at-triumphant-rose-bowl-stadium-show-concert-review","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=6025","title":{"rendered":"Noah Kahan Turns His \u2018Miserable\u2019 Material Into Manic Elation at Triumphant Rose Bowl Stadium Show: Concert Review"},"content":{"rendered":"
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\n\t\u201cMy name is Noah Kahan and I am here to make you fucking miserable!\u201d the biggest male rock star on the charts right now announced almost at the outset of his sold-out show Saturday night at Pasadena\u2019s Rose Bowl Stadium. In this, he was unsuccessful, but to Kahan\u2019s credit, he did not really try very hard to turn the 57,000-strong crowd into a miserablists\u2019 convention. There was some truth ungirding Kahan\u2019s introductory joke, given how much of the song catalog that has made him a superstar is devoted to what he would call \u201cintrusive thoughts\u201d about disconnection, loneliness and unworthiness. But the celebrative spirit of the two-and-a-half-hour show kept all of those undercurrents at bay, to maybe be better experienced when you\u2019re back home, just the records and you and your neurodivergence. In concert, Kahan\u2019s about nothing but putting on a pure jubilee \u2014 as good a time as you\u2019re likely to have in any concert venue, large or small, in 2026.<\/p>\n

Read more \u2018Lanterns\u2019 Premiere Shocker: Stars Kyle Chandler, Aaron Pierre and Show Creators Break Down That Time Jump and Cliffhanger<\/a><\/p>\n

\n\tL.A. locals will remember that he was easily selling out two nights at the Hollywood Bowl in mid-2024, so his instantaneous sellout of the Rose Bowl isn\u2019t that much further of a leap. (He probably could have sold out two here, too, if the tour planners had left room for multi-nighters in his schedule.) But this wave of Kahan-mania hasn\u2019t been going on for so long that we can\u2019t still be impressed and maybe even puzzled by the sheer unlikeliness of it. Humble singer-songwriter comes along singing about bare trees, cold morning drives, dead friends, divorced parents and all the uncertainties anyone in his twenties in the most forlorn parts of the Northeast could face, and suddenly he\u2019s as big as BTS? Go figure. You get the sense from Kahan that he hasn\u2019t completely figured out himself what went so right in singing so much feel-wrong music: \u201cI remember playing at the Troubadour and being happy if that was the rest of my career,\u201d he told the massive crowd. \u201cI\u2019m grateful as fuck to be here with y\u2019all.\u201d That\u2019s a common sentiment from a touring superstar, but there\u2019s a sense that Kahan really might be as happily bewildered as the rest of us about how songs this personal and cloudy came to captivate even sunny California. \u00a0<\/p>\n

\n\tAnyway, he\u2019s good \u2014 really, really, really good \u2013 so that\u2019s a gift horse we won\u2019t look in the mouth. As far as pop stars who happen to also be thoughtful and excellent songwriters go, Kahan is in the upper ranks. If anything, he\u2019s underrated, at least by some of the cognoscenti, who tend not to know how to think about it when something that falls loosely under the rubrick of Americana makes it big, other than to mark it down as some sort of curious throwback to Mumford & Sons\u2019 stomp-and-holler folk-rock mini-revolution. It is partially that, but Kahan is also really a contemporary to Taylor Swift, in the way that he fills his songs with peculiarly personal details that leave fans hanging on every lyric, on the way to doing satisfying stadium romps where the faithful will shout back every long-memorized random aside. (Not right in your ear, if you\u2019re lucky.) He\u2019d probably get more credit for just how strong the writing is if he\u2019d stayed in a proper niche, but some overnight sensations can\u2019t be helped.<\/p>\n

\n\tHis most recent album, \u201cThe Great Divide,\u201d is one of the year\u2019s most commercially sturdy records, not having been out of the top 10 since it debuted in April and not likely to leave any time soon. The 20-track (in its deluxe version) set might be even stronger in its storytelling than the star-making \u201cStick Season,\u201d so it was not to the Rose Bowl set\u2019s detriment at all that he performed 14 of its tracks. One of those songs, \u201cOrbiter,\u201d is about his experience at the 2024 Grammys, feeling like a loser when he lost the best new artist category to Victoria Monet. (Remarkably, that\u2019s one of just two Grammy categories Kahan has even been up for, the other being as a featured artist on someone else\u2019s country song. ) Being back in the greater L.A. area for this show, he used the Rose Bowl as his confessional.<\/p>\n

\n\t\u201cThis is not gonna endear me to the crowd,\u201d Kahan said, gearing up to explain why this is not his favorite city. \u201cL.A. has been home to some of the worst days of my life and my music career. I\u2019m sorry, it\u2019s not your guys\u2019 fault, but I\u2019ve always felt a little out of place here\u2026 I always felt like when I came here I was auditioning for something, even though I wasn\u2019t. I never felt like I fit\u2026 I got my feelings so hurt by losing awards and losing things and feeling like I was entitled to shit that I wasn\u2019t entitled to. None of us are entitled to anything in this business, or in our lives, really. Um, and I thought about why I wanted to keep going, and it was for my wife, my mom, and it was for you all. So this is a song about you three \u2014 my three best friends.\u201d<\/p>\n

\n\tIn the fairy-tale version of this story, his team would submit his song about losing a Grammy, and it would win a Grammy. That won\u2019t happen, not least of all because there are more obvious focus tracks than \u201cOrbiter\u201d to put in for possible nominations. Even then, who knows if Recording Academy voters will be yet ready to give him his due? If \u201cThe Great Divide\u201d doesn\u2019t get much Grammy love, it might only help further drive his art. Kahan seems to thrive, on this latest album, on exploring some of the vagaries that come with getting a lot of attention, and how it affects relationships with family and old friends and even (maybe) especially his own self-image. And it\u2019s pretty interesting stuff. There have been a number of albums this year that go into the side effects of fame \u2014 Ariana Grande\u2019s in a big way, Phoebe Bridgers\u2019 to a lesser extent \u2014 but no one is quite so humble or conflicted about it as Kahan. He projects himself onto old acquaintances or family members, laying into him in ways it\u2019s unlikely very many of them have in real life. One song that was a big hit Saturday night, \u201cDashboard,\u201d is a song in which, effectively, he inhabits the role of someone who is calling Noah Kahan an asshole for four minutes. It\u2019s endearing and very catchy, even if perhaps the asshole in question doth protest too much.<\/p>\n

\n\tIn reality, Kahan\u2019s ascent strikes people as a case of good guys finishing first\u2026 as they always do, right? I was struck by how Chappell Roan characterized him when he brought her out to duet at the Rose Bowl. Her surprise appearance late in the set was so that they could trade verses and harmonize on the choruses of her song \u201cCalifornia,\u201d a ballad that shares some themes of dislocation and dissociation that are common to Kahan\u2019s own geographically specific songs. As recognition of her red tresses turned into a roar, Kahan sang Roan\u2019s praises, describing \u201cCalifornia\u201d as \u201cthe first song I ever heard of Kayleigh\u2019s, and the reason I fell in love with her music. And I\u2019m just really proud of her.\u201d<\/p>\n

\n\tRoan returned the appreciation, saying, \u201cNoah always stands up for me, seriously.\u201d (Fans likely understood this to reference how, in March, Kahan publicly had her back when Roan was taking some flack for protesting the aggressiveness of professional autograph scalpers.) Roan doubled down on Kahan\u2019s virtue: \u201cHe\u2019s a good person \u2014 for real.\u201d Now, \u201cgood person\u201d may not be as reliable a way to trump up a rock star as something, like, say, \u201cbad-ass,\u201d but we have the feeling his career will survive the rumors of his virtue.<\/p>\n

\n\tA few things have changed since Kahan headlined the Bowl two years ago, besides the major infusion of \u201cGreat Divide\u201d songs. For one thing, there were fewer extended comic monologues, which I missed, though I wouldn\u2019t argue that any of the 27 songs in the set should be tossed out for the sake of a funny story. Kahan may be figuring that he gets to exercise that muscle enough on social media, or that his fans have already heard plenty abut his family dynamics, whether in past tour patter or in his excellent recent Netflix documentary, \u201cNoah Kahan: Out of Body,\u201d which went in a lot deeper than a moment\u2019s anecdote could. Anyway, he was witty enough, and telling enough, in passing. In \u201cAll My Love,\u201d a new song where he catches an old friend or lover up on recent developments in his life, he sings of his amicably divorced parents, \u201cMy folks still talk, but they speak in these two-word sentences.\u201d In concert, he found time before the next line to quickly add: \u201cAnd now they\u2019re up to seven-word sentences!\u201d<\/p>\n

Read more Hayden Panettiere, \u2018Heroes\u2019 and \u2018Scream\u2019 Star, Dies at 36<\/a><\/p>\n

\n\tKahan\u2019s voice is one of the things about him that may be underrated. He sounds like he\u2019s constantly on the verge of breaking into a falsetto, but not quite needing to go there, although if he does, it\u2019s as sweet and expressive as you\u2019d hope. As with a lot of singers we take for granted, you don\u2019t really think about how strong he is until something goes amiss. There was just such a moment in Saturday\u2019s show, when he went to sing \u201cPain Is Cold Water\u201d \u2014 a touching acoustic song that he only does occasionally, acoustically, on the C-stage \u2014 and his voice cracked in the very first line. \u201cOh my God!\u201d he blurted, stopping it and starting again to give it a fighting chance. It proceeded flawlessly from there, with Kahan almost apologizing for how slick it turned out. \u201cSorry to go all Christina Aguilera on you after sounding like a 13-year-old boy,\u201d he joked.<\/p>\n

\n\tThe biggest difference from his \u201cStick Season\u201d touring, anyhow, is \u2014 surprise \u2014 production values. This tour has a nifty conceit: a physical rooftop that cyclically fell and rose to provide the roofline for different structures that changed as a result of digital projections combined with pillars and\/or porches that stagehands would bring out. At first it was a cabin he and his six-piece band would perform in front of, with an old beater of a Volvo parked outside. Later on, the cabin became a general store, and the car turned into a Vermont police cruiser \u2014 just in time, inevitably, for one of his signature songs, \u201cDial Drunk.\u201d This presumably fictional tale of a DUI arrest was dramatized (or comedicized) with a trooper actually slamming Kahan against the hood, followed by cameras catching just the right angle on him inside the vehicle as he lamented the girlfriend who would not pick up. Aside from a few agreeable band poses, \u201cDial Drunk\u201d was the only time of the night there was anything that might be considered schtick\u2026 and in a stadium setting, it\u2019s hard to begrudge that crowd-pleasing of a moment.<\/p>\n

\n\tBy contrast, when the braided star went up onto the hovering rooftop to sing a single number atop the prop with his acoustic guitar, \u201cWilling and Able,\u201d he seemed to be having a genuinely emotional moment, which much of the quieted crowd definitely observed. If he was just acting his way through that number, no harm done. Either way, it says a lot that Kahan would take one of the quietest numbers from the sprawling \u201cGreat Divide\u201d and make a somber, solitary place for it in his big rock show, trusting that the subtle storytelling about two old friends uneasily dancing around their resentments and suspicions will be intutively understood or embraced by a crowd of tens of thousands. Violin player Nina de Vitry provided an especially tasteful complement on this ballad, making one fiddle sound like a whole string section.<\/p>\n

\n\tKahan also made sure to give solo spots to the rest of his accomplished ensemble \u2014 Zubin Thakkar, Dylan Jones, Alex Bachari, Marcos Valles and Mike Harris. The six-piece backing crew turned into a nine-piece when they were joined for the three encore numbers by a three-person horn section, allowing the music to take on a Springsteenian\/\u201dWrecking Ball\u201d quality for the extended finale.<\/p>\n

\n\tThe way Kahan was able to choreograph this fiddle- and banjo-laden group across different parts of the stage to visually elongate the party was reminiscent of what another player in the superstar-Americana space, Zach Bryan, has done with the players at his stadium shows. But any thinking about similarities along those lines inevitably leads to thinking about how fundamentally different Bryan\u2019s and Kahan\u2019s personalities are. Bryan is sympathetic but still surly\u2026 or at least his offstage shenanigans lead you to feel he could pop off without a lot of provocation. Kahan, on the other hand, is absolutely your BFF\u2026 and the worst thing he is going to do is ghost you, and then come back to town and apologize for ghosting you, and then write a song about how he knows you resent him for patronizing you, because he\u2019s empathetic that way. Very important distinction there.<\/p>\n

\n\tKahan is one of the good guys not least of all because of the honest ways in which he talks about substance abuse recovery and mental health, with songs that do such a bravura job of exploring what it is like to, as he says, have a busy head. We probably shouldn\u2019t judge artists by the signs that fans bring to their performances, but I had to take some amusement when the cameras at the Rose Bowl began showing glimpses of the fans down front during some of the final songs of Saturday\u2019s show. Instead of asking for a request or a hug or a birthday shout-out, the camera caught a young woman holding up a big, wordy sign that read, in part: \u201cThank you for breaking the chain of generational trauma!\u201d <\/p>\n

\n\tA different kind of artist calls for a different kind of fandom\u2026 a therapeutized one that knows manic elation when they see it.<\/p>\n

Read more John Oliver Brutally Mocks Trump for Sacrificing Staff in Airplane-Swap Incident<\/a><\/p>\n

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