7 p.m. Two hours until the start of the show. On the RAW site in Berlin-Friedrichshain, the early summer evening lies like a light filter over rusty steel and crumbling brick. The “bathhouse” is now a stage for a final: Luke Noa’s last concert on his first own headliner tour. And the first with a released album in the back – Debut.
On a flat concrete staircase on the edge of the site, Luke sits in his hand with a sandwich. Chicken, peanut sauce. “Actually, I can never eat before shows“he says and still bites off. The dark curls over his forehead shine in the backlight, tamed with pomade, accurately shaken up. A quick look to the side: “How are my hair?” His voice sounds hoarse. He wears a red -glowing dog trainer jacket – more than just a piece of clothing. It is his trademark. “I’m always happy when friends are there.” Many of them – even musicians – are in the audience today. It’s the last evening. The last city. To Hamburg, Cologne, Stuttgart, Zurich. The last show in Munich was a week ago. “I’m a little afraid that I’m out of the rhythm,” he says.
Back in the Venue, two young women catch the eye. They are at the forefront, even before someone enters the stage. One of them wears pink, heart -shaped sunglasses. She glued glitter stones on the black glasses. One “L” on one, one “n” on the other. “Was a action until that lasted,” says Mira with a laugh. She and her friend Sophie were already there in Munich. “We had to come again. This is the last concert. That is farewell,” says Mira. They have been following Luke Noa for two years. “He is the first in which I can do all the texts,” says Sophie grinning.
Old EPS, new album – and a voice that can do both
8:50 p.m. Show time. The stage is immersed in warm, yellow light. Do I Wanna Open the evening. Not a big intro, no thunderstorm. Only Luke Noa, a guitar – and a short moment before the first chords sound. A reserved, melancholic start. His voice alone, rough, almost breathing. It slides over the chords, accompanied by soft harmonies of the piano.
What follows is not a calculated pop concept – but an evening that moves how music should move. Sometimes worn, sometimes driving. There is no break between old and new songs, but a line: from a young artist who is just beginning to show himself. And Noa shows what he can, but especially: whoever wants to be.
Songs like Gracie Act by the American singer Gracie Abrams, and you switch between lightness and longing. It is a love song to someone he never hit. It sounds dreamy, light, warm. A song in which the feeling is nested to think of someone who doesn’t even know that you exist.
Color change. Because then the older songs come – about Feedback or Your smile should have bees mine – And drive up the pace. Light jumps from red to green to blue. Here it gets louder, more driven. The drums get more space, the arrangements are denser, sound with angular guitars to Phoenix, Two Door Cinema Club, also early the Kooks flash. Noa sings more powerfully here. It is another side of him, but not an inappropriate one. The former sound of Noa is raw, ribbon -driven – and still suits him. The songs show where he comes from.
He breaks out of music between the songs – says a few words. “I am happy that you are all here.” Then he grins, a dimple flashes briefly. In these moments it seems almost shy – until he plays again. Then everything is there: attitude, timing, precision.
What a Day from Debut Is ironic cool. You can tell: Noa is still easy. The bass directly, the pace casual, the text almost wink: “But i Say Uh – what a day, what a lovely day.” The band – drums, keys, bass and a joyfully surprising trumpet Never Forget How – remains cool and present. It is noticeable that Noa can rely on her.
At Bleachhis most successful song with over 4.5 million streams so far, Noa’s voice makes a U -turn. He sounds a bit rougher live than on Spotify, but that’s exactly what he likes. What could be described as a young Paolo Nutini at the beginning of the evening is now part of Gus Daperton or Declan McKenna. Noa is versatile and knows how to use his voice to match the occasion.
And yet – his voice looks the most in peace. In Demon From the new album approximately. A song that is slowly building up, worn by the piano and guitar. Noa’s voice fragile, almost complaining, as if he himself was still negotiating what he sings: “I’ve been living in a daydream baby. I’ve bee hiding with my demons lately”. It is the song where Mira and Sophie cry – as before in Munich.
Roccastrada remains the last song. Noa seems solved, almost relieved. The voice is loose, the movements are more open. The sound is energetic, clearly structured, with driving drums. Here his ego meet: the clear folk and the energetic indie rock. Sing along one last time, jump in one last time. After the concert, Mira and Sophie say: “He gave everything. And we too.”
More intimacy, less pressure – Luke Noas current direction
Two sides by Luke Noa offered a struggle for existence that evening and played against the wall on the stage. Old against new.
Noa’s new sound is calmer and tidier. The songs of the album Debut Look more focused, reduced, folk. Away from the charged indie rock of the early songs, towards more intimacy. More space for voice and text. However, they are by no means unknown realms into which the 26-year-old immerses.
His greatest inspiration is the British folk band Mumford & Sons with his former drummer Chris Maas he was even allowed to work together on the new album. Noa came to music through her. As a teenager, his uncle showed him a concert film by the band. Although the then 14-year-old fell asleep in the middle due to a previous night, he woke up as another person. From the moment he knew he had to make music. He wanted to be part of this energy, this world. “Once support for Mumford & Sons – that would be,” he says. And somehow it looks less like a dream – and more like a very concrete direction. With his album Debut Doesn’t open up Luke Noa in new territory – he comes home.
Editor’s note: The author knows the artist personally.