MJ Lenderman’s night at the Sydney Opera House felt like a moment of reckoning
Here was a guy who made a name for himself in the realm of alt-country with Manning Fireworks – an album that came out of nowhere, but somehow captured the aching beauty of the genre in a way few others could.
To say this was his biggest headline show yet is no small claim. The Opera House holds 2,679 seats, and to fill that cavernous space with the sort of disaffected, emotionally-charged tunes Lenderman is known for is no small feat. But that’s what happened.
Lenderman’s signature blend of brooding tenderness and rough-hewn rock ‘n’ roll was on full display, but there was also something more.
As the band walked onstage to the swelling instrumental of Yo La Tengo’s Ohm, it became clear this wasn’t just another gig – this was the culmination of everything Lenderman’s built in the past couple of years.
He’s carved out a space in the indie-rock canon, a spot where alt-country meets lo-fi, heartfelt songwriting meets unapologetic genius.
The crowd was already in full applause mode, with Lenderman’s trademark calmness in check, alongside a sly grin, he commented on the oddity of being allowed into such a prestigious venue – “I can’t believe they let us in here,” he joked, and it was immediately clear: MJ Lenderman may have made it to the Opera House, but he wasn’t about to let the place change him.
A few chuckles and self-deprecating remarks didn’t stop the crowd from being swept away by Rip Torn, which – let’s be real – the track’s flawless composition had everyone hooked. Lenderman’s musical skill was on full display, making it clear why he’s so well-loved. And it wasn’t just that song.
Lenderman’s effortless songwriting bled into every track, whether it was the easy-going You Have Bought Yourself a Boat or the jangly, hypnotic Joker Lips. It was the kind of set that felt familiar, like an old friend you never tire of hanging with, but also like a reckoning, as if Lenderman was calling upon something deeper.
Then came the surprises: a cover of Dancing in the Club (yes, that This Is Lorelei track) and a rendition of Neil Young’s Lotta Love made famous by Nicolette Larson. Lenderman seemed almost caught in the moment, as though still processing the weight of his own broken heart.
A few months ago, his community was left reeling from a devastating hurricane, making Cardinals at the Window all the more poignant – all proceeds from the compilation go toward helping his hometown heal – and the weight of it was heavy in the air.
Lenderman gave us everything: the raw emotion, the familiar alt-country swagger, the covers, and the new songs. The encore of Knockin was just the cherry on top, an exhale after a night of emotional highs and lows.
By the time the show ended, it was clear – MJ Lenderman wasn’t just playing a gig. He was marking a moment in his life, and we all got to bear witness.
Check out the set list is below:
Ohm (Yo La Tengo cover)
Manning Fireworks
Joker Lips
Wristwatch
Rudolph
Toontown
You Have Bought Yourself a Boat
TLC Cage Match
Pianos
Dancing in the Club (This Is Lorelei cover)
She’s Leaving You
Rip Torn
You Don’t Know the Shape I’m In
On My Knees
Bark at the Moon
No Mercy
Encore:
Lotta Love (Neil Young cover)
Hangover Game
Knockin’
