The February chill did little to deter eager fans from queuing outside Hackney’s Moth Club to witness Cat Burns kick off BRITs Week 25 in aid of War Child. Their patience in the freezing cold was rewarded with a night of heartfelt music and roses from Cat herself—a small yet touching gesture that felt as comforting as a warm cup of hot chocolate on a winter’s night.
Upon entering the intimate 300-capacity venue, attendees were met with poignant commemoratives from the Second World War, including a stamp and coin marking VJ Day. The venue’s warm, golden glow, accentuated by its signature glittered ceiling and shimmering stage backdrop, set the perfect scene for a night of music with a purpose—fundraising for War Child, a charity dedicated to supporting children affected by global conflict.
The evening opened with British-Nigerian artist Essence Martin, whose unique blend of indie-folk, pop, and soul captivated the sold-out crowd. Accompanied by a trio, the Institute of Contemporary Music Performance graduate—who has previously supported Mika—effortlessly encouraged the audience to sing along to her original material, including the reflective “Wondering Souls.” Her witty songwriting, exemplified in a song about overcoming her aversion to Brussels sprouts, showcased not only her musical prowess but also her ability to weave humour into deeply personal narratives.
When Cat Burns took to the stage, she was met with rapturous applause. After all, this was her first London show in four months. She and her live band opened with “Alone,” where rock and R&B intertwined seamlessly, highlighted by her guitarist’s stunning Slash-style solos. The setlist took the audience on a journey, exploring Burns’ realization that strength often lies in embracing individuality. Tracks like “Boy Crazy,” which draws inspiration from Corinne Bailey Rae and Ezra Furman with a touch of ’50s doo-wop influence, showcased her versatility as an artist.
At just 23 years old, and with a top-ten album, Early Twenties, much of Burns’ material naturally revolves around relationships and personal growth. However, what sets her apart in a genre often saturated with heartbreak anthems is her refreshing perspective—she doesn’t dwell on micro details or roast past relationships. Instead, she delivers her stories with optimism, making them universally relatable and empowering.
Burns deserves credit for a setlist that balanced emotional depth with moments of pure joy. From the melancholic “You Don’t Love Me Anymore,” featuring military-style drumming, to the euphoric ’80s-infused pop of “Met Someone,” she seamlessly shifted between rock-driven sounds, groove-heavy beats, and EDM influences. Throughout the night, the crowd was transfixed, singing along to every lyric. It was only when her biggest hits—“People Pleaser” and the viral sensation “Go”—arrived that phones emerged from pockets, capturing the moment.
In a bittersweet announcement, Burns revealed that this would be the final time she performed her cover of Wheatus’ “Teenage Dirtbag.” Given the overwhelmingly positive reception, many fans—particularly those born before 2000—will undoubtedly hope for its return to her setlist in the future.
For years, XS Noize has witnessed how musicians have come together in intimate venues to support War Child’s vital mission. We are proud to continue playing a part in this journey. Yet, with almost half a million children affected by global conflicts, the need for support has never been greater. If you can, please consider donating to War Child via this link.
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