Yeule hypnotizes fans at Black Cat in D.C
Singer-songwriter and multidisciplinary artist Nat Ćmiel, known professionally as Yeule, brought her signature fusion of glitch and grace to the Black Cat D.C. on September 13, transforming the intimate venue into a gritty-glam cybernetic soundscape. The self-described “Glitch Princess” is a non-binary painter, musician, performance artist, and cyborg entity, and this past June she announced her highly anticipated EVA GIRL TOUR, which visited twelve cities across North America throughout September. Late in the evening fashionably dressed fans packed into the cozy venue, filled with excitement for what would become a night of catharsis, chaos, and ethereal connection.
Opening the show was fish narc, a musician and producer from Seattle. Known for his production and collaboration work with artists like Gothboiclique, Juice WRLD, and the late Lil Peep, he delivered a tight set that pulled the crowd into his sonic, moody world, blending elements of punk and lo-fi indie rock. Mixing tracks from his recent release, frog song, with older hits and a couple of his unreleased songs, he offered a glimpse into his diverse discography for the curious and enthusiastic audience. Since returning to his indie roots with solo work under Calvin Johnson’s K Records, fish narc has been carving his own path in the industry, and his cool vibes and energetic performance set the tone perfectly for the night ahead.
With the stage lights staying unusually bright – giving everyone a consistently clear view of the performance all night – yeule’s band emerged one by one, settling behind their instruments with quiet intensity. Then, yeule appeared, dressed in black with a white fingerless glove on her right hand and a black leather paperboy hat adorned with metal embellishments. Her rope-wrapped mic stand stood front and center like an altar. She began to sway slowly to the intro music before launching into “Skullcrusher,” a heavy, industrial-tinged track. The sound was hypnotic and chaotic – an electrifying opener that officially plunged the audience into her universe.
Her vocals were sharp and commanding as her guitarist and drummer locked in behind her with a steady, deliberate groove. Midway through the second track, “Tequila Coma,” she picked up her electric guitar and jammed out with the band, closing the song with a mini solo that drew cheers from the crowd. Blending glitch-pop with ‘90s alternative rock and cyber-core, the song’s groovy bassline and trap-tinged undertones created a distorted yet oddly soothing atmosphere.
As the final notes faded, they dove straight into “1967,” a grungier anthem. yeule moved with expressive grace throughout the performance, using her hands and body to accentuate every lyrical shift. The audience bounced along, cheering as she played an impromptu guitar solo between verses.
After the song, she paused to connect with the crowd: “How you doing, D.C.? I remember playing here two years ago – it’s good to be back! Thank you for coming!” Fans screamed back “I LOVE YOU!” as she smiled and readied her guitar for the next track.
The crowd immediately recognized “The Girl Who Sold Her Face,” singing along from the first chorus. With glitch-pop and trip-hop elements layered over gritty alternative rock, the song tackles themes of objectification and the pressure to conform in the music industry. Screaming vocals cut through its electronic and acoustic layers, reinforcing its emotional bite.
She then raised the energy with the light yet gritty “What3ver,” a dreamy track filled with supple basslines and grungy guitar overlays. It carried a mellow vibe while still maintaining that distinctive yeule edge. Fans swayed and clapped along until the final chords rang out, then erupted into cheers as she transitioned directly into “DUDUDU” – a high-energy, nostalgic track fusing ‘90s alternative rock with electronic experimentation. The crowd couldn’t help but bounce along to its distorted melodies and sweet, echoey hooks.
After removing her hat and smoothing out her hair, “Eko” started. She moved across the stage to greet fans pressed against the barrier, dancing fluidly between verses. Her vocals were light and airy over the song’s uptempo drums, synths, and pulsating bass. Co-produced with Chris Greatti, “Eko” marks a notable shift from the shoegaze-heavy sound of her previous album, softscars, leaning more into an alternative pop vibe for her recent album, Evangelic Girl Is a Gun. It offered a moment of sweetness amidst the heavier moments of the set.
Returning to her guitar for “softscars,” yeule earned cheers as she teased out exploratory riffs before launching into the emotionally raw title track from her previous album. The performance was unfiltered and vulnerable, showing off her range as both a performer and a storyteller. During a pause, she signaled a quick thumbs up to her drummer, and they immediately launched into “dazies,” a high-energy song that had her band hitting hard from the jump.
Midway through the track, yeule screamed, “Are you ready, D.C.?!” prompting a roar from the audience. “I can’t hear you!” she shouted again, building the song up to a chaotic peak before softening again for the final verses.
Fan favorites like “Anthems for a Seventeen Year-Old Girl” and “sulky baby” were also scattered throughout the setlist. Toward the end of the latter song, she held her guitar upright like a cello and bowed it softly, creating an unexpectedly unique ending to the track.
Closing out the set, she played the title track of her latest album, “Evangelic Girl Is a Gun.” The crowd’s energy was at an all-time high, and she had the entire room jumping along with her to the song. “Alright, I want to see you jump!” she yelled, skipping from one side of the stage to the other. “Let’s go, one last time!” The electro-industrial, alternative pop sound pulsed through the room, layering unique vocals and her distinct blend of indie-rock. yeule was all smiles as fans continued to bounce and wave their arms through the end of the track.
Not quite ready for the night to end, the audience called yeule back for one final song. She returned to her microphone stand with a grin and a heartwarming, “This one’s for you, D.C.!” as the opening notes of “x w x” rang out. The shoegaze-leaning track built up to a cathartic release, with yeule dancing and screaming along, pouring every last bit of energy into the performance. The crowd followed her lead, fully locked in as the final beats reverberated through the room. It was a powerful closing moment for a set that had been gripping from start to finish; an emotional, electrifying glitch-pop journey that left the crowd buzzing long after the lights came up.
Words by Miya (Sarah Peter) // for KtopiaX
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