On the New York City night of February 23, Chelsea Cutler sold out her first ever Radio City Music Hall headline show. Nearly 6,000 New Yorkers wrapped around the Midtown blocks, adorned in Cutler-inspired sneakers, jerseys, and “vintage” Cutler merch. The energy circulating from city to city on “The Beauty Is Everywhere Tour” finally arrived in Manhattan, and it was well-received.

Chelsea Cutler Sells Out Radio City Music Hall: "The Beauty Is Everywhere Tour" — Photograph by Shauna Hilferty

The evening began with an opening performance from the New York City native group, Yoke Lore. Lead singer Adrian Galvin exclaimed how gracious he was to be on stage at “the most beautiful venue.” Galvin and drummer, Rafe Bouchard, warmed up the rapidly filling auditorium with their folk-pop discography. He sang crowd favorites like “Beige,” and “Shake,” and thrashed his limbs in a feral yet simultaneously elegant dance. Yoke Lore also performed one his favorite childhood songs, “Truly Madly Deeply,” which felt like an unveiled sentiment to playing at Radio City.

After Yoke Lore departed, Radio City’s iconic velvet curtains lowered to the stage floor. Behind them, stage crew shadows danced in a fit of productive motion, bringing Chelsea’s stage to life. It wasn’t long before the lights dimmed, hushing everyone’s conversations into a silence of excitement, and the curtains lifted to reveal the massive stage.

White scalloped arches framed a platform with a miniature catwalk where a microphone waited at the end. A drum set, guitar setup, and Chelsea’s signature sound board accessorized the stage. Retro strobe lights at the base of the stage, casting long shadows over the audience while synth swallowed the space, and an intro-audio oding to the beauty in everything carried up to the mezzanine.

At the close of the audio, Chelsea appeared on stage. Her song “Something More” was the perfect opening song, and a great introduction to the yearn and desperation behind her record “Stellaria.”

Stellaria’s production grade is too large to be put in the confines of a single “type” of music. Chelsea really tapped into her personal writing style, and introduced her fans to the story-telling air of folk music. Instrumentally, the record is versatile – it relies on Cutler’s usual mastery of percussion and riffs, while also introducing more twang carrying sounds, and displays a phenomenal usage of synth. Radio City was the perfect venue to hold room for the performance of “Stellaria.”

After her first few songs “I Don’t Feel Alive” and one of her crowd-favorites, “Cold Showers,” Chelsea couldn’t contain her excitement. She stopped to acknowledge how “pretty fucking cool” it was to be playing Radio City. “It’s a Friday night in the city I call home! New York City, how are you doing?” The crowd erupted, charging Cutler’s amped energy.

Cutler spoke casually with the audience, like they were all just chilling together at a party she was hosting. “There are a few important things to talk about. One, I’m a bit of a sneakers girl, but tonight… I’m wearing loafers! Two, my mom just got a hip replacement and she is here tonight!” The crowd applauded Mama Cutler.

On tour in celebration of “Stellaria,” Chelsea Cutler is fortifying her already established fanbase. Having been in the music industry since her college days, Chelsea is ever-evolving as a musician, bridging an experimental gap between genres. The community at the foot of her sound has only grown, as she’s planted her voice in the genres of folk-americana, pop, and continues to water her roots in electronic exploration. Her willingness to try something new grows her listener count album by album.

Cutler’s fanbase is composed of a large listener demographic. Fans of multiple genres, fans of all ages, and fans from the LGBTQ+ community. A Chelsea Cutler show has always been the friendliest and most welcoming environment, and it was heart-warming to see that energy occupying a notorious space like Radio City.

The show rolled into some of Chelsea’s archives from albums “When I Close My Eyes” and “Sleeping With Roses II.” Songs like “Easy” and “AF1s” elicited a surefire singalong from the audience.

Sewn around two of her newer songs dealing with the weight of self-reflection “Hunting Season” and “Growing Up Is Hard,” were two of her older songs “NJ” and “Crazier Things,” two songs written with romantic grief. The parallel lines running beside each other added an intensity to the performance.

Halfway through the setlist, stage crew rolled out a rickety wooden piano and Cutler’s incredibly talented bandmates, drummer Michael Mason and keys player J.T. Becker stepped back to make room for an acoustic set that wrapped with her song “Hotel June.” Acoustic sets deeply favor Cutler’s flutey tonal ability, allowing her range to take up more sonic space.

The lights dimmed and the piano was pulled from the stage to make the transition into a different sector of her sound. When the lights flashed back into motion Cutler reappeared to sing two of her hits “Sad Tonight” and “The Reason.” “The Reason,” from “Sleeping With Roses” is a staple at a Chelsea Cutler concert, with one of the most electrifying instrumental choruses to ever drop.

After a few more tracks, the show closed with one of Chelsea’s most received single releases, “The Lifeboat’s Empty.” The seated structure of Radio City couldn’t contain the fans, as they jumped and pushed into the aisles. It was the perfect send off song, before Chelsea ran backstage.

Overhead, the lights turned on but Chelsea Cutler fans knew better than to assume the show’s over. It wasn’t long before reappeared on stage for an encore. She acoustically performed her most recent song of transcendence, “Your Bones.” The audience took matters into their own hands, singing the chorus as Chelsea sat back in awe.

The evening closed with another track from “Brent,” “This Is How You Fall In Love.” The lyrics felt like an ode to her fans, her tour, and the earned chance to perform at Radio City. As the slow and melodic sound came to an abrupt close, Chelsea’s outro song “Paper Planes” took over the speaker and she exited the stage with the widest smile. The audience collectively sang along as they filed out of the auditorium.

“The Beauty is Everywhere Tour” has been a true display of enjoyment, passionate songwriting, vocal maturity, and Cutler’s self-acceptance as a human being. This record has done great things for listeners and for Chelsea herself, and a sold out Radio City Music Hall is a symbol of that achievement.

The project behind this tour is a display of the cleanse that comes with the discomfort of acceptance. Acceptance of one’s self, acceptance of the mundane, acceptance of the past/present/and future. Acceptance sometimes feels otherworldly, like a transformance. This is what “The Beauty is Everywhere Tour” has been for Cutler – an artistic exploration of the space between one’s existence and their sound.