LOS ANGELES, CA- The journey of an artist is rarely linear. It’s a precarious tightrope act, balancing between external expectations and internal desires, between commercial success and authentic self-expression. For those who achieve fame at a young age, the path is even more perilous. To step outside the shadow of early success and grow into an artist of depth and substance is a feat as rare as it is admirable. Yet, that’s precisely what Willow has managed to do, and her performance at The Ford Amphitheatre stood as a powerful testament to that journey.
When I first saw Willow’s name on The Ford’s calendar, I confess I didn’t rush to circle the date. My initial exposure to her music, through the undeniable earworm “Whip My Hair” (a title that needs no correction—it’s permanently etched into my brain), had left an impression of youthful exuberance but not much else. Her subsequent foray into pop-punk felt, at the time, more like an exercise in trend-chasing than genuine artistry. In a crowded field of musicians pivoting to pop-punk for cultural relevance, Willow’s effort was serviceable but didn’t demand my attention.
Then came empathogen—an album that didn’t just change my perception of Willow; it shattered it. From the first listen, it was clear this wasn’t the work of a performer content to rest on name recognition or past accolades. This was an artist who had done the hard, often invisible work of self-discovery, emerging with a voice that was both fearless and refined. It wasn’t just the album’s genre-defying sound—a lush blend of math rock, neo-soul, and experimental jazz—that struck me, but the emotional and intellectual depth it carried. Listening to empathogen felt like peeling back the layers of an onion, uncovering more with every spin. I knew immediately that I had to hear it live.
Opening the evening was Arc Iris, a band that might not yet be a household name but undoubtedly deserves to be. Their music defies easy categorization, blending avant-garde pop, experimental jazz, and electronic psychedelia into a style that feels both innovative and untethered to traditional constraints. Their live performance was a sonic odyssey, with intricate rhythms and floating melodies that seemed to stretch beyond conventional structure. At times, their sound called to mind the otherworldly atmospheres of Flying Lotus—ethereal, immersive, and deliberately experimental. If Arc Iris is the type of act opening for Willow, it signals a commitment to curating an evening that challenges as much as it entertains.
Formed in 2012 in Providence, Rhode Island, Arc Iris began as the solo project of Jocie Adams, a former member of The Low Anthem. Seeking greater creative freedom, Adams joined forces with Zach Tenorio-Miller on keyboards and Ray Belli on drums, crafting a sound that fuses influences from 70s pop, folk, cabaret, jazz, and classical music. Their adventurous spirit became apparent with the release of their self-titled debut album in 2014 via ANTI- Records, a bold artistic statement that earned critical acclaim.
Arc Iris’s performance at The Ford was a reminder of their genre-defying ethos. Their live set captured the essence of their career—daring, unpredictable, and profoundly immersive. For those willing to embrace the unexpected, their music offers an experience that lingers long after the last note fades.
By the time Willow took the stage, the atmosphere was electric. There’s something uniquely magical about The Ford Amphitheatre—it’s an outdoor venue that manages to feel both grand and intimate, nestled in the hills of Los Angeles. As the lights dimmed and the first notes of “home” rang out, Willow emerged from a mist-drenched stage, her silhouette illuminated by a single spotlight. It was a dramatic and fitting introduction for an artist who has clearly found her home—not just in music but in the act of creation itself.
The set that followed was nothing short of transcendent. Willow performed nearly the entirety of empathogen with a sophistication and artistry that far exceeded my expectations. Songs like “i know that face,” and “symptom of life” showcased her ability to weave intricate melodies with introspective lyrics, while the addition of the Color of Noize Orchestra, conducted by Derrick Hodge, elevated the performance to a level of grandeur rarely seen in contemporary music. The arrangements were lush and dynamic, giving the songs a cinematic quality that perfectly matched their emotional depth.
One of the evening’s highlights was the live debuts of “wanted” and “to you,” two tracks from the deluxe edition of empathogen, ceremonial contrafact. These songs were extensions of the album’s central themes—vulnerability, self-awareness, and the search for connection. Hearing them performed live for the first time was a reminder of just how much Willow is still evolving as an artist. It’s not just that she’s willing to take risks; it’s that she seems to thrive on them. I was particularly draw to “to you”.
Interspersed throughout the set were selections from her earlier work, including “transparentsoul,” “Female Energy Part Two,” and “Meet Me at Our Spot.” While these tracks brought a sense of familiarity to the evening, they also served to highlight just how far Willow has come. The raw energy of these earlier songs was still present, but it was tempered by the maturity and complexity of her newer material.
The visual elements of the performance were just as striking as the music. The stage design was minimalist yet evocative, with lighting that shifted seamlessly from soft, moody hues to dramatic bursts of color. Smoke machines added an ethereal quality to the performance, creating the sense that we were witnessing something otherworldly.
What struck me most about the evening, though, was the sense of purpose that permeated Willow’s performance. Every note, every lyric, every movement on stage felt intentional. This wasn’t just a concert; it was a statement—a declaration of artistic independence and a celebration of creative growth.
It’s worth taking a moment to reflect on just how difficult it is for an artist to find their voice in an industry that often rewards conformity over innovation. For young artists, especially those who achieve fame early in life, the pressure to stick to a formula can be immense. Reinvention is risky. It requires not just talent but resilience, a willingness to fail, and an unwavering belief in one’s vision. Willow has navigated this journey with grace, evolving from a precocious pop sensation into a musician of substance and depth.
Her performance at The Ford wasn’t just a showcase of her talent; it was a celebration of her growth. It was a reminder that the best art comes not from playing it safe but from embracing the messy, uncertain process of becoming.
As the evening drew to a close, Willow performed the final track from empathogen, “big feelings”—a song that has seems to be Willow’s declarative anthem of her artistic evolution. As the first notes rang out, the crowd, a diverse mix of die-hard fans and curious newcomers like myself, seemed to hold their breath, fully captivated. By the song’s powerful conclusion, the audience erupted into a standing ovation—a moment of collective awe and gratitude. It was the perfect exclamation point to an extraordinary evening, a shared acknowledgment that we had just witnessed an artist operating at the height of her creative powers.
Walking out of the amphitheater, I couldn’t help but feel a profound sense of gratitude. Gratitude for the artists like Willow who dare to challenge themselves and their audiences. Gratitude for music that doesn’t just entertain but moves, inspires, and transforms. And gratitude for the reminder that evolution—both personal and artistic—is always worth the effort.
Willow isn’t just a rising star; she’s a revelation. And if her performance at The Ford is any indication, her best work is still yet to come.
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