Finneas performs at the Masonic in San Francisco on March 4, 2025. Photos: Elena Strawn/High Rise PR.

SAN FRANCISCO — Finneas‘ sold-out For Crying Out Loud tour stop at the Masonic was a fun evening of straightforward pop gems. Emerging as a solo artist out from the shadow cast by his megastar sister and collaborator, Billie Eilish, Finneas has built a strong identity with his earnest pop lyrics and layered sound.

For Cryin’ Out Loud!, his 2024 sophomore album, explores themes of heartbreak, personal growth and reflection. As Finneas humble-bragged mid-set, he started recording the album less than a year ago, and to be already mid-tour supporting it was “fucking sick.” The tour, spanning cities all across the U.S. and Europe, has demonstrated how the 10-time Grammy winner continues to grow as a live performer and storyteller.

Coming out in a dapper black suit and shiny patent leather shoes, with a proper rockstar mane, he instantly attempted to connect with attendees by intimating that he prefers San Francisco to his previous tour stops in the U.S. He maintained an easy rapport with the audience throughout the show, demonstrating both an inherent comfort level being on stage and an innate willingness to be silly. At one point, he read attendees’ signs, leading to his band naming one fan’s pet hamster. His stage setup was sparse, with an open air in-the-round feel and a few LED poles scattered around his five-member band.

The night started with Finneas launching into “Starfucker” with a soft solo rendition before his band joined in energetically. The venue’s acoustics made every detail of his voice stand out, turning songs like “Cleats” and “What’s It Gonna Take to Break Your Heart?” into quiet, powerful moments, almost as if Finneas were singing directly to each person in the room. In fact, Finneas’ live music was consistently better when stripped down, allowing his warm voice to shine through. Ballads like “Partners in Crime” and “Angel” were highlights for that reason.

His energetic tracks were more variable. Some, such as “Mona Lisa, Mona Lisa,” definitely translated better live than on the album, spotlighting Finneas’ popstar quality while calling back to an earlier golden era of indie rock. Undeniably catchy “The Kids Are All Dying,” off his 2021 debut, Optimist, saw Finneas owning the stage with strolling insouciance, while “Sweet Cherries” brought out occasional hip thrusts that got the young crowd screaming. “Little Window” felt like space filler, while “2001” got the crowd moving and clapping along but also came across more confection than substance.

He switched to keys for “Only a Lifetime,” signaling another more intimate chapter onstage. Another highlight was debuting a new song that the band wrote during soundchecks on this tour. The crowd’s energy never wavered, with the ubiquitous glow of phone cameras scattered throughout the room. During “A Concert Six Months From Now,” the audience’s voices filled the venue, turning the performance into a collective experience.

Compared to previous shows, the San Francisco stop felt especially grand, maybe because of the city’s rich musical history on display in the Masonic. Finneas seemed to embrace that, honoring the past while firmly carving out his own space in the present. This wasn’t just a tour stop; it felt like a clear statement of where he’s headed as an artist.

Los Angeles rock band Bad Suns opened the show with enthusiasm and catchy songs that perfectly set the tone for the night. Tracks like “Swimming in the Moonlight” and “Daft Pretty Boys” loosened the crowd up. The tight performance and easy charisma created an upbeat vibe.

Follow Jane Hu at Instagram.com/plainjane.