PinkPantheress brought rapid, hit-filled setlist to Phoenix

Last weekend, PinkPantheress roused crowds of over 100,000 at Coachella, and on April 20, she extended her time in the desert with an early weekday stop at a more refined, intimate venue. 

It may have been a warm night in downtown Phoenix, but the spacious hall of Arizona Financial Theatre, without an empty space within, could fool you into believing it was a long weekend. An Evening With PinkPantheress, the third full-length tour from the emerging British sensation, began its main 2026 leg in mid-April.

Responsible for viral hits like “Stateside” (which was inescapable during the 2026 Olympics), “Illegal” and “Boy’s a Liar” in ’26, ’25 and ’24 respectively,  PinkPantheress has innovated a fresh sound in her young career, a mix ranging from bedroom pop to garage and house; a mix that’s built for snippets, social media and constant virality, all without sacrificing the quality of the (usually short) song. 

This style leads to a fast-paced, blink-and-you’ll-miss-it type of show, with setlists approaching 30 despite a runtime around 75 minutes. There was no time to waste, it seems — PinkPantheress arrived a little after 9 with luggage in hand, immediately jumping into the smash-hit “Stateside” to roaring cheers, accompanied by trench coat-donning backup dancers, a DJ and a drummer. 

Though her audience obviously skews toward young people clad in vintage ’00s and ’10s U.K. alternative, plaid city fashion to match their star, the definitive PinkPantheress sound has become rather universal in the age of the internet — as evidenced by her Phoenix crowd, there is music for an entire venue to scream, music to get down to, music to feel and reflect on. Though newer tracks are more singularly fun, don’t let some of the booming bass or pop sounds fool you: There’s plenty of depth to be found throughout her discography. 

In its choreography and aesthetics, the performance had definite similarities to a K-pop show, an unmistakable feeling that emphasizes the production and detail of the performance rather than a live jamming of musicians. The show was constant, highly produced, with nearly no breaks, especially for the on-stage support — short song to short song, over and over, with limited crowd or interlude breaks. The show did not stop. 

Though her style is perhaps more suited for a smaller setup, the crowd responded admirably through the different eras of the setlist, from newer songs like “Romeo” and “Girl Like Me” to early 2020s hits “Pain” and “I Must Apologise.” These tracks are fun, with rapid baselines and garagey drums, and felt electric with the nearly 5,000-deep crowd singing along. The night’s highlight was perhaps the excellent “Capable of Love,” the closest to a ballad in her catalog, which stripped away much of the theatrics and focused on the performance of a heartfelt, quality song. 

Though she says she wasn’t always comfortable on stage — “If this is your first time seeing me, then thank God,” she half-joked — PinkPantheress shows have clearly come a long way, as her
“Evening With…” tour feels studied and veteran.