Show Review & Photos: Damiano David @ Paramount Theater

Damiano David - Paramount Theater - 2025-11-20 - Photo By Diane Webb

Damiano David’s FUNNY little FEARS U.S. Tour Launches With an Emotional Spark at Seattle’s Paramount Theater

SEATTLE (November 22, 2025) — Damiano David, best known as the electrifying frontman of Italian rock powerhouse Måneskin, launched his U.S. solo tour with a stunning performance at Seattle’s Paramount Theater on Friday, November 21, 2025. The debut American date of his FUNNY little FEARS tour was an unforgettable blend of emotional depth, raw vulnerability, and charismatic showmanship, leaving fans both exhilarated and deeply moved. It set an unmistakably high standard for every city that will follow.

The anticipation for this show had been building for more than a year. Many fans purchased tickets long before the release of Damiano’s debut solo album, trusting fully in his artistic evolution. When FUNNY little FEARS arrived on May 16, 2025, it rewarded that faith: a 14-track confession of fear, longing, insecurity, and growth, featuring collaborations with artists Labrinth, d4vd, and Suki Waterhouse. Damiano has described the album as a “manual” for confronting his greatest fears, and this opening-night performance brought those emotions vividly to life.

Outside the Paramount, lines stretched around the block well before doors opened. Inside, the atmosphere felt like a meeting of long-lost companions rather than strangers; fans carried handwritten signs, swapped stories about how Damiano’s music had shaped their lives, and spoke warmly of his partner, actress and singer Dove Cameron, who resides in Seattle and whose presence many hoped to feel in the audience. When the house lights dimmed shortly after 9:00 p.m., the room erupted with a visceral mix of affection and anticipation.

There was no opener, the night belonged wholly to Damiano. The stage was striking in its simplicity: a minimalistic setup with a wide drum riser, a secondary platform for the band and backup vocalists, and, dominating the backdrop, a massive moniker spelling out DAMIANO DAVID in alternating red, yellow, green and blue. Two guitars, bass, keyboards, drums, and two supporting vocalists created a rich but uncluttered sonic landscape that allowed Damiano’s voice and presence to remain at the center. At times, he shifted into a crooner’s stance, delivering lines with a vaudeville-tinged charm; at others, he slipped into a more primal, emotional mode, singing shirtless under stark lighting that highlighted the intensity of the moment.

The set moved fluidly between high energy and meditative calm. Damiano fed off the crowd’s enthusiasm, teasing them by unbuttoning the top of his shirt only to close it again with a smirk, eliciting thunderous cheers. Midway through the night, the stage plunged into an intermission of flashing blue lights and cosmic synth textures before he reemerged with “Zombie Lady,” a standout track whose recorded version features backing vocals from Dove Cameron, a detail fans buzzed about the moment the opening notes rang out.

In one of the evening’s most affecting moments, Damiano paused the show to speak openly about the emotional process behind writing the album. He described wrestling with profound fears, most notably the fear of loneliness, and shared how, instead of isolating him, the experience had brought him closer to his audience and reshaped his career. Even as some fans directed negativity toward him during the album’s creation, he remained steadfast in his commitment to be authentic to himself. The sincerity of his confession hung in the air, creating a sense of collective catharsis between artist and crowd.

During “Over,” he transformed the Paramount into a choir, coaxing the audience first gently and then insistently to sing with him. As voices grew louder and the venue glowed with shared light, it felt as though everyone present had become part of the song’s emotional release. The final track of the main set, “Mars,” carried that sentiment forward. Damiano reflected on the song’s connection to love, admitting that thoughts of Dove Cameron had shaped its creation, though he ultimately dedicated it to everyone searching for love or holding tightly to it.

After a brief exit, Damiano and the band returned for a two-song encore that brought the evening’s emotional arc to a full and satisfying close. The show ended the way it began; with intensity, honesty, and a sense that something meaningful had unfolded onstage.

With this tour, Damiano David proves that his artistic identity extends far beyond the global success of Måneskin. FUNNY little FEARS is not merely a side project; it is a personal and artistic unveiling. The Seattle performance was incredible, emotional, raw, and undeniably authentic, leaving fans both fulfilled and eager for more. For anyone considering catching this tour in another city, the answer is simple: go. You’ll witness not just a concert, but an artist embracing his fears and transforming them into something unforgettable.

Damiano David Gallery

Photos: Emily James @ Triple Door

Emily James @ Triple Door – 11/18/2025
Photos by Kirk Stauffer

Emily James delivered a warm, captivating performance at The Triple Door in Seattle, turning the intimate room into a hush-and-glow listening space. Her voice—silky but expressive—floated effortlessly over her thoughtful, emotionally detailed songwriting. Between songs, she connected easily with the crowd, sharing stories with a calm, genuine charm that made the evening feel personal. The guitar and piano arrangements were understated and elegant, allowing her vocals and phrasing to take center stage. By the end of her set, the audience was fully wrapped in her quiet confidence and lyrical honesty—an understated, beautifully crafted show that fit The Triple Door perfectly.

Emily James – Photos by Kirk Stauffer

Photos: Sofia Isella @ Showbox

Sofia Isella @ Showbox – 11/13/2025
Photos by Kirk Stauffer

Sofia Isella headlined at the Showbox in Seattle near the end of her current You’ll Understand More, Dick tour.  The intimate performance was just Sofia and the engaged audience – no backing band – while she supplemented her prerecorded songs with guitar, violin, bass, and piano.  The connection with the crowd was further underscored as she walked among them while singing “All of Human Knowledge Made Us Dumb“ and later crowd surfed during “Sex Concept”.  Los Angeles-based singer-songwriter Ayleen Valentine opened.

Sofia Isella – Photos by Kirk Stauffer

Ayleen Valentine – Photos by Kirk Stauffer

The Saints ’73 – ’78 at the Neptune Theatre

I don’t believe I’ve ever quoted Sir Bob Geldof before and I’ll likely not do so again but the aging rockstar/activist got it right years ago when he said “Rock music in the seventies was changed by three bands: the Ramones, the Sex Pistols, and the Saints.” It’s entirely possible that some fans out there might find the inclusion of Brisbane, Australia’s Saints as an occasion to cock an eyebrow or make haste to cite their favorite early punk combo as an alternative (Clash, the Damned, Buzzcocks, whohaveyou) but a quick look at the numbers and a passing familiarity with punk rock history argue otherwise. The original version of the Saints formed (as ‘Kid Galahad & the Eternals) in 1973, changed their handle to ‘The Saints’ in ’74, and recorded their first two tracks (including the classic ‘(I’m) Stranded’) in 1976. While the Pistols and the Ramones became more widely known over time (especially in the US), the Saints were there first and their impact on music (and perhaps more importantly) and their impact on MUSICIANS, is undeniable. The first proper incarnation of the band produced three LP’s: 1977’s (I’m) Stranded, followed shortly by the equally excellent Eternally Yours and the criminally underrated Prehistoric Sounds. Singer Chris Bailey parted ways with his bandmates in 1978, effectively bringing the era of Saints V.1. to a close. Bailey subsequently passed away in 2022. The version of the Saints touring now under the moniker ‘The Saints ’73 – ’78’ celebrates the music from these first 3 albums and includes original members Ed Kuepper on guitar and Ivor Hay on drums. Keupper and Hay are joined by multi-instrumentalist Mick Harvey (Nick Cave & the Bad Seeds, the Birthday Party), bass player Peter Oxley (Sunnyboys), vocalist Mark Arm (Mudhoney, the Monkeywrench), and a three-piece horn section.

The passage of time was evident as the Saints took the stage at the Neptune (in all fairness, their heyday WAS 50 years ago!) but the decades melted away as the launched into their opening tune. Keupper’s churning, propulsive rhythm guitar (every bit as essential to the Saints’ early acclaim as Chris Bailey’s vocals) has lost none of its razor edge and Hay’s solid drumming pushes the band along at a brisk clip. Mick Harvey’s tasteful leads added a nice bite and Mark Arm’s vocals were just what the punk rock doctor ordered. Arm has wisely chosen to avoid anything approaching a Chris Bailey imitation, singing instead in a manner not at all unlike what he does in Mudhoney. The sum total of these parts manages to pay tribute to the early days of the Saints without devolving into a rote recitation or straight up copy. The pacing of the set Sunday was spot on, with the band picking up momentum all along the way, peaking with a final, set closing one two punch of ‘I’m Stranded’ and ‘Know Your Product’. The band was enthusiastically called back for a three-song encore, ending with a truly epic version of ‘Nights in Venice.’