Ezra Furman Turns The Epstein Theatre Into A Celebration Of Queer Joy And Defiance
The Epstein Theatre, Liverpool 22nd October 2026
IMAGES L J HUBBARD / WORDS MARCUS DAVIES
Entering Liverpool’s The Epstein Theatre, it immediately conveys a comforting feeling: one that emphasises its place within the local community and disavows any pretensions you may expect in a theatrical venue. It’s a compact building, introducing itself with a small narrow staircase followed by a classic sea of red velvet seating. There is a bar, and many are settling in early, soaking in the atmosphere. This homely venue, situated on the outskirts of Liverpool’s bustling city centre, could not better accommodate Furman and Margolin’s reflective and deeply personal approach to music.
Margolin, formerly the lead singer of Brighton-based rock band Porridge Radio, is no outsider to the indie music scene, having been shortlisted for the 2020 Mercury Prize with her record “Every Bad” and being a committed visual artist. Nonetheless, tonight also marks her foray into solo artistry, as she offers headliner Ezra Furman gratitude for inviting her with only one released song: the debut single “Big Beautiful Sound”, which concludes the set.
Margolin begins with the words “…a new Devil comes knocking … I let him in…”, outlining the evening’s emotional tenderness and themes of individual struggle. Her performance covers a wide dynamic range, with a level of rawness underpinning each track, but growing in ferocity and anguish as the concert continues. The theatrical acoustics engulf the room in tender fingerpicking and vigorous strumming, echoing the variety behind Margolin’s music, with no let-up across the full set. It is a support act that intertwines artistically with Furman’s work and sets the bar for a level of passion that her headliner quickly maintains.
Following a brief interval, Furman’s performance pulls zero punches and steers clear of the brakes. When her music is upbeat, the sounds are explosive and fast-moving; when it gravitates towards more sorrowful themes, she screams and bellows through the anxiety with a fighting spirit.
Early in the show, Furman finds herself compelled to acknowledge her transgender identity and condemn the discriminatory rhetoric that often permeates contemporary life, poisoning both of “our islands”, to cite her phrasing. This concert takes on a new context. Indeed, trans identity is often central to Furman’s music and naturally follows her autobiographical approach. The desire for mutual respect is an ongoing battle, as this community’s human rights remain an ongoing political debate.
Music is a powerful tool, not solely for allowing us to resonate and unite under particular emotions, but also for documenting this lived experience through first-hand accounts; it is history-writing in action. She feels an obligation, living within this moment of great prejudice, to utilise her platform, and what follows is a beautiful moment as the venue’s demographically diverse audience gives her triumphant words, “trans power”, a standing ovation. Under the bittersweet nature of her music, this concert seems to be more euphoria than misery; it is, above all, an exercise in queer
joy.
Throughout the evening, Furman’s performance is punctuated by a whopping total of 100 “nature facts”, which are half-delivered on two breathless occasions, decorated under a solemn spotlight as the ‘facts’ descend to absurd insights into Furman’s creative mind. Laughter fills the room as Furman declares that “squirrels invented jazz”, “all snakes were originally connected together” and “fire is only hot right before you touch it”. While no peer-reviewed scientific studies were cited, I am fully sold on Furman’s vision this evening, and I hang on to every word.
As Furman walks off, continuous, thunderous applause summons an encore. Furman returns with the track “Book Of Our Names”, derived from Exodus, the second book of the Bible, which details the Hebrews’ escape from slavery in Egypt. Furman introduces this final segment by discussing the emancipatory power of names and honouring the individual amidst the struggle for one’s own liberty and survival. This passionate cry is the perfect bookend for a night of celebratory joy and protest: a fight for survival rooted in the music. Furman’s contagious energy leaves me feeling life-affirmed as I leave and step into a quiet, brisk Wednesday evening, surrounded by smiling faces.
SET LIST
No Place
Transition From Nowhere to Nowhere
Point Me Toward the Real
Maraschino-Red Dress $8.99 at Goodwill
Ordinary Life
100 Nature Facts: 1-50
You Hurt Me, I Hate You
Dr. Jekyll & Mr. Hyde
God Lifts Up the Lowly
Love You So Bad
(Interrupted by theatre staff for an intermission)
-- Intermission --
Love You So Bad
(Restarted from beginning)
I Wanna Be Your Girlfriend
100 Nature Facts: 51-100
(Spoken Word/Comedy)
Haunted Head
Song About a Red Car
Train Comes Through
ENCORE
Book of Our Names
FOLLOW EZRA FURMAN
Comments