It’s March 2020: my repatriation flights from Australia back home to the good old European land are yet to reveal themselves. A girl I have met while travelling down the East Coast is visiting me in a city of daily, late-night gigs; Melbourne. I’m buzzing. I get to know a recently acquired friend better; we are about to indulge in a veggie Bahn Mi and a bowl of Pho, the size of both of our heads, at a Vietnamese pitstop and in my pocket, there is a ticket to the Weyes Blood concert starting in an hour. 
I first found out about Natalie Laura Mering, a singer, songwriter, and musician from California, professionally known as Weyes Blood, from my ex-boyfriend. He advised me to listen to her newest 70s-like soft rock album, Titanic Rising, while on the train, claiming it to be the perfect staring-out-the-window accompaniment, which is precisely the kind of music that my Spotify playlist consists of. When she announced her Australian tour, I couldn’t resist the temptation to see her live. Borrowing Mering’s own words in one of her interviews, I was just “looking for nostalgia and a good time”, the former being the sentiment that the album evokes (and that I particularly enjoy indulging in) while the latter acting as an additional bonus. 
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