Bathed in amber light and a haze of smoke, Michelle Zauner stepped onto the stage at The Pageant on Monday, Oct. 6, holding a glowing lantern. The crowd fell silent as she moved toward a giant clamshell centerpiece, her silhouette flickering through the mist. Then, as the band struck its first notes, the spell was cast.
Japanese Breakfast transformed the St. Louis venue into a dreamlike world of melancholy and wonder during this stop on their tour for their newest record. The band’s fourth studio album, “For Melancholy Brunettes (& sad women),” was released on March 21, 2025. Each chord and shift of light drew the audience deeper into Zauner’s ethereal vision, setting the tone for a performance that felt as intimate as it was surreal.
Fronted by singer, guitarist and songwriter Michelle Zauner, Japanese Breakfast also features Peter Bradley (guitar), Deven Craige (bass), Craig Hendrix (drums and keyboards), violinist Lauren Baba and saxophonist Adam Schatz. The American indie-pop band was formed in 2013 after Zauner saw a GIF of a traditional Japanese breakfast and wanted to create a band name that would be “exotic” to Americans.
Once the show began, the stage transformed into a dreamlike scene. Smoke rolled across the floor beneath the open clamshell centerpiece, framed by a glowing sign that read “Melancholy Inn.” The band was equally dispersed across the stage, completing the hazy, surreal atmosphere.
With the stage glowing a yellowish hue, the band then jumped into “Here is Someone,” a song that artfully combines soft guitar, fantasy-like backing instrumentals and wistful lyrics. Followed by “Orlando in Love,” another melancholic track, the show opened strong with the iconic verses and sounds that fans recognized and enjoyed.
Midway through the show, what seemed like a technical malfunction turned into an artistic flourish. As red and white lights flickered and microphones crackled, Zauner and her band seamlessly turned the chaos into rhythm, diving into their energetic track “Honey Water.” The planned transition showcased their ability to blur performance and spectacle.
The band played both new and old hits throughout the show, including many of the band’s biggest hits. When the opening chords of “Boyish” rang out, the crowd erupted, with voices joining in on the melancholic chorus that has become a fan favorite since the 2017 album “Soft Sounds from Another Planet.” Among the others were “Kokomo, IN” from 2021’s Jubilee album and “My Baby (Got Nothing At All),” which was featured in the recent movie “The Materialists” starring Dakota Johnson, Pedro Pascal and Chris Evans.
The Pageant’s intimate layout enhanced the performance. Whether in the pit, seated on the tiered floor or watching from the balcony, fans were enveloped in the band’s sound. The acoustics carried every detail of Zauner’s voice, which matched her studio recordings almost perfectly. Along with that, the crowd ranged from young to old, reflecting how the band’s music resonates with a wide audience.
For the encore, the band closed with four songs: “Posing for Cars,” “Paprika,” “Diving Woman,” and “Be Sweet,” which is Japanese Breakfast’s highest-streamed song on Spotify.
Japanese Breakfast’s performance at The Pageant was a stunning blend of artistry, emotion and showmanship. Zauner’s ethereal presence and connection with the audience elevated the night beyond a simple concert, as it became an immersive experience that reflected the beauty and melancholy found in her music.
The band’s wide range of instruments, stage design and transitions created a dreamlike atmosphere that captivated fans from start to finish. Every detail, from the lighting to the setlist, felt intentional and expressive of Zauner’s creative vision. By the end of the night, The Pageant was transformed into a mystical atmosphere that lingered on well after the last song. Japanese Breakfast proved once again why they are one of the most compelling acts in indie music today.
