Self Esteem City Hall, Newcastle | 18th September 2025
Invited| Review by Michael Dunwell
The formula for a great gig is simple: a brilliant artist at the top of their game, a tight and inventive band, and a crowd ready to be swept up in the energy. But what makes a night truly unforgettable is when the performance goes beyond just music, when it feels like a celebration of community, empowerment, and sheer joy. On Thursday night at City Hall, Rebecca Lucy Taylor, better known as Self Esteem, gave us exactly that.
We began our evening at The Town Mouse, a tiny micro pub tucked away in St Mary’s Place. It was the perfect starting point: great beers, a buzzing but laid-back atmosphere, and that rare kind of community where you walk in the door and someone immediately strikes up a friendly conversation. It set the tone for a night of connection and warmth, and we left already in high spirits.
The concert itself opened with I Do And I Don’t Care, and what an opener it was. The song built and built until, at its climax, every voice on stage united in the devastatingly raw refrain: “If I’m so empowered, why am I such a coward? If I’m so strong, why am I broken?” It was spine-tingling. Those choral layers, delivered by no fewer than eight vocalists/dancers backing Rebecca, created a sound so rich and overwhelming it seemed to spill right over the edge of the stage.
Rebecca herself was commanding yet utterly human, radiating presence without ego. She was supported by a multi-instrumentalist who effortlessly moved between keyboards, bass, and DJ decks, and, of course, the so-called “token man” on drums (who deserves credit both for his groove and for looking very comfortable being outnumbered). Add in a trumpet woven into the mix (unexpected but brilliant) and you had a soundscape that married electronic textures with the vitality of live instrumentation.
The set was as varied as it was consistently thrilling. Focus Is Power, the anthem tied to the Lionesses, landed with particular force, its message of drive and resilience echoing around the hall like a rallying cry. At the other end of the spectrum were the cheeky, tongue-in-cheek moments like 69, proving Rebecca can pivot from power to playfulness with ease.
One of the night’s real highlights was when support act Moonchild Sanelly returned to the stage for a fiery duet on In Plain Sight. Their combined energy was electric, turning the track into something bigger and bolder than the recorded version could ever suggest.
What struck me most was how every song felt like its own world. Each number had a distinct character, its own choreography, its own energy, its own message. It wasn’t just a gig; it was theatre, each one leaving you both satisfied and eager to see what was coming next.
By the end of the night, it wasn’t just the music that lingered, but the atmosphere of empowerment and joy. Rebecca Lucy Taylor has built a show that isn’t just about her, it’s about creating a space where people can feel strong, seen, and celebrated. And in City Hall, she did just that.
This was more than a gig; it was an experience. From the friendly warmth of The Town Mouse to the euphoric, communal power of Self Esteem’s set, it was a night that reminded me what live music is all about: connection, catharsis, and the sheer thrill of being in the room when something extraordinary happens.
