Kings Raleigh hosted a lineup featuring local talent Lilly Flower, experimental artist More Eaze, and the enigmatic Chanel Beads.

There are some nights that are rare – the right mix of timing, energy, and people all falling into place. Chanel Beads, easily one of the most compelling names in underground indie right now, was headlining at Kings. More Eaze was billed in support, fresh off a string of sonically adventurous releases. And kicking things off was Lilly Flower, a local Raleigh artist who’s just beginning to plant her roots – and was playing only her second live show with her band ever.

Her debut was barely a month ago, a short in-store set at Schoolkids Records on February 28. Fast forward to March 27 and she’s opening for a band that just capped off their breakout album cycle. Her debut LP Critter, released in January, is still making the rounds, but the momentum is real.

Photos by Rory Sullivan (@rorysullivan)

From the jump, Lilly’s set felt like the sonic equivalent of stepping into a fuzzed-out fairytale. A punchy drum intro, interlocked with winding lead and rhythm guitar, gave way to her lush, layered vocals – something in the vein of dream pop but messier in a good way. Think Candy Claws meets Julie, with the playfullness of Coco & Clair Clair. Songs like “Dad Song” and “I’m Not Hungry” stood out for their emotion and texture – drenched in feedback, but never losing clarity. The crowd, a mix of close friends and new faces, was all in by the end.

What made the set land wasn’t just the sound, it was the feeling. There was something endearing about the way Lilly and her band handled the moment. Nervous smiles between songs, an endearing but genuine stage presence, and a tightness in the playing that suggested a band already locked into something bigger. The overlap of Chanel Bead’s fans added a subtle but noticeable layer to the energy in the room. It didn’t feel over-rehearsed or overly polished, but there was something confident about how they held the stage, like they knew they belonged up there even if it was all still new.

Next up was More Eaze, the alias of Brooklyn-based artist Mari Maurice. She stepped on stage and, without saying a word, launched into an uninterrupted 45-minute stream of genre-chaos. The set moved like liquid – one second, she was sending waves of screeching feedback through the room, and the next, we were floating in soft, ambient bliss. Her violin, filtered through layers of modulation and haze, added an emotional edge that hit especially hard during the quieter moments. It was a wall-of-sound kind of set, but one that invited you to sit inside it. Not everyone stuck around for the full sonic bath – some wandered to the bar or back of the room, but those who fully realized her presence were surely moved.

Chanel Beads, the project of NYC’s Shane Lavers, is one of those acts you hear and never forget. Their 2024 album Your Day Will Come cemented them as a name-to-watch in left-field indie. The live show only deepens the allure.

Taking the stage at 9:45, the band opened with “I Think I Saw,” and immediately the room changed. The lineup for the night included Shane, Colle (aka Maya McRory), More Eaze’s Mari Maurice, and a percussionist – known only to us as the windchime guy – who split his time between a drum pad, chimes, and occasionally diving into the crowd to cause chaotic joy. It felt part-show, part-performance art.

Shane’s vocals live are raw, and that’s what makes them special. There’s a looseness to it – full of screeches, yelps, and improvised moments – that makes each track feel like it’s unraveling right in front of you. “Police Scanner,” their biggest song to date, landed with force. Its catchy beat, almost ’80s bounce, turned the room into a bouncing mass. “You owe it to yourself, gotta believe in something else” – that line hit even harder live.

The emotional center of the night belonged to Colle. During the performance of “Idea June,” she took the mic solo, delivering the song’s shoegazey “video” version – a much denser and noisier take than what’s found on the original cut of the album. As she sang “The waves wash onto my shore,” it felt like the whole room leaned in. Chanel Beads isn’t just Shane’s project – it’s a whole world, and everyone on that stage adds a piece to it.

The set closed with “True Altruism,” a fan-favorite from 2022 that sent the longtime heads into a chant-along frenzy. It was the perfect ender – loud, messy, communal. At one point, windchime guy launched himself into the pit again, and by then, everyone knew what kind of night this was.

Chanel Beads isn’t polished live – not yet. But that’s the point. There’s something deeply special about seeing a band mid-transformation. The vibe at Kings wasn’t just “here to see a show” – it was people showing up because they care. And when you pair that energy with a local artist like Lilly Flower having her moment on that same stage, it’s the kind of night that sticks with everyone that found themselves there.