LOS ANGELES, CA- There are always a few names that linger in the periphery of your memory after a whirlwind trip to SXSW—those artists you earmarked to see but, due to the festival’s unpredictable nature, missed. For me, IDER was one of those names back in 2018. They were slated to perform at the British Music Embassy showcases at Latitude 30, and I remember thinking, “These two could be something special.” But, as SXSW often goes, a last-minute change derailed my plans, and they slipped onto my “coulda, shoulda, woulda” list.
Fast forward to 2025, and the London-based duo—Megan Markwick and Lily Somerville—announced a Los Angeles date at The Echo. A few listens on Spotify to their achingly gorgeous harmonies and thoughtful lyricism sealed it: I wasn’t missing them this time.
What added even more weight to the night was the presence of KTJ & Carly as the opener. Twin sisters who first came onto my radar years ago when I booked them for a showcase at Madame Siam in Hollywood, these two have been quietly evolving into artists with a distinctive voice and refined pop instincts. This was my first time seeing them live since 2019, and watching them perform again felt like a revelation—a full-circle moment that confirmed what I’d sensed years ago: these sisters are the real deal.
Their 10-song set leaned heavily into material from their 2024 album Forever Young, and from the first note, the energy was undeniable. You could feel the confidence they’ve cultivated over the past few years—everything from their tight vocal delivery to their command of the stage. There was a conviction in the way they performed tracks like “Pink Ferrari” and “GoodDay,” but it was “Mister Bare Minimum” that hit like an anthemic punch. . The room responded in kind, shouting along and dancing with abandon. The lyrics are biting, funny, and oddly empowering—a testament to the sisters’ knack for songwriting that captures the moment without feeling disposable.
It didn’t hurt that their fan base turned up. I clocked more than a few screaming fans in the front rows, arms flailing, lips mouthing every word. The crowd wasn’t just there for IDER—they were there early, present, and loud for KTJ & Carly. And the sisters gave back in spades. Between songs, they engaged with the crowd, shared anecdotes, and proved that years of creative growth haven’t dampened their sense of fun or self-awareness. There’s an originality to what they’re doing that’s refreshing in a landscape saturated with imitation. If momentum and fan loyalty mean anything, KTJ & Carly are poised to keep rising.
Then came IDER. To say I was mesmerized would be putting it lightly. The Echo was packed shoulder to shoulder, and there was a reverent hush before the duo even hit the stage—like the whole room had taken a collective breath. Megan and Lily opened with “Late To The World,” and the lyrics—“I might be late to the world but I don’t need a reason / I’m on my way / I’ll be ok”—hit like a shared mantra. The crowd sang back so loudly that the duo burst into laughter. And from that moment on, the night became something intimate and cathartic.
IDER is currently touring in support of their third album, Late To The World, released on February 21, 2025 . Produced by Dann Hume, known for his work with artists like Laura Mvula and Troye Sivan, the album was recorded during a residency in his church-turned-studio between summer and autumn 2023 . The duo describes this record as the album they’ve “always wanted to make,” pushing their tender sound in a tougher direction while maintaining deliberate restraint. The result is a blend of lush electronics and blistering indie rock that mirrors their journey of self-discovery and growth.
Mid-set, they spoke candidly about the idea of being a “late bloomer,” and how timelines are overrated. “What is late, anyway?” they mused. “Maybe we’re all actually right on time.” That sentiment bled beautifully into “Unlearn,” a track that feels like a battle cry for those finding themselves after the dust settles. The crowd’s energy surged. I caught a group of girls in front of me sobbing and singing during “You’ve Got Your Whole Life Ahead of You Baby”—a song that’s basically a hug in musical form.
Technical hiccups struck when the drummer’s programming gear glitched, but no one cared. If anything, it made the show more human. They improvised. They pivoted. They laughed it off. And when they stepped off the stage and into the audience for a stripped-down performance of “Learn To Let Go,” the room fell completely silent, hanging on every harmony. Their voices intertwined in a way that felt less like performance and more like communion. You could see fans mouthing, “This is why I flew here,” and I believed them—especially the couple next to me who came in from Chicago just for the show.
IDER doesn’t just perform; they transcend. For a band whose U.S. appearances are rare, this was more than a gig—it was a reminder that some artists, no matter how delayed their arrival, show up exactly when we need them.
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