She told the crowd at the Fillmore that she didn’t think anyone would show up at Thursday night’s concert. The Silver Spring, Md., stop was the first on her limited summer tour. Concertgoers were eager to welcome her, many clutching newly bought tour merch for “Masochism,” the name of Ferreira’s upcoming album.
After a few minutes shuffling onstage amid the applause, Ferreira launched into the electric-pop crunch of “Boys.” Though she seemed uncertain, her sunglasses shielding her from the bright stage lights and masking nerves, her recognizable light but magnetic vocals glided clearly through the heat of the night.
At an early age, Ferreira’s singing talent was recognized by one of her hairdresser grandmother’s superstar clients: Michael Jackson. She started her own pop journey sharing her craft on the internet, eventually getting a record deal at 15. Label execs had plans to mold her into a Britney Spears sound-alike with a dance pop sound, but those plans were dropped as they tried to figure out what to do with her.
Ferreira eventually found a new direction herself, which resulted in 2012’s “Ghost” EP. The release included the indie blogosphere darling, “Everything Is Embarrassing,” whose mesmerizing production showcases her aching vocals. With her debut album within reach, Ferreira invested her own money to get it over the finish line. “Night Time, My Time” blended grunge and new wave influences into a turbulent coming-of-age debut, showcasing a more cohesive sound than her previous EP.
Ferreira’s follow-up album was initially announced for 2015 release. But nearly a decade after the success of her debut, that still hasn’t happened. She has said in interviews that the music is ready: a couple of released singles, 2019’s “Downhill Lullaby” and 2022’s “Don’t Forget,” have gothic influences and more mature lyrics that could be a glimpse into “Masochism.” Dedicated fans are clamoring for Capitol Records to release the album.
With enthusiasm for new music surging, Ferreira’s show helped stoke the flames. She’s been candid in the past about her stage fright. But there were moments — as with “24 Hours,” when her opaline vocals took the synth-pop daydream to rosier skies — that felt closer to an exhale.
Despite her matte stage presence, Ferreira’s singing brought out new shading and highlights from both her released and as-yet-unreleased songs. “Lost in My Bedroom” felt fresh even after over a decade out, while “I Blame Myself” is ready for a movie soundtrack.
After Ferreira closed with “Everything Is Embarrassing,” she lingered onstage to sign shirts, set lists and other items for fans. Hopefully, the “Masochism” shirts are a precursor to the new album’s release rather than a somber memorial.