Following their debut UK tour this past May, Berlin-based art-rock ensemble Lucy Kruger & The Lost Boys are reflecting on the milestone experience that saw them bring their mesmerising sonic catalogue to UK audiences for the first time, alongside the haunting new single 'Reaching' which was released in April.
Released just before the tour kicked off, 'Reaching' served as a deeply evocative showcase of the five-piece's ability to navigate between fragile connections and sudden ruptures. With its metronomic tension, woozy waltz rhythms, and grinding guitars that fill the void where language falls short, they are delivering one of their most striking explorations of human disconnection to date.
The tour marked a significant milestone for the South African-born Lucy Kruger and her accomplished lineup—Liú Mottes (guitar), Jean-Louise Parker (viola, vocals), Sally Whitton (bass), and Gidon Carmel (drums)—as they brought their surreal live experience to ten UK venues, including performances at Focus Wales and The Great Escape. Recipients of the Europavox Spotlight Prize and veterans of festivals from SXSW to Roadburn, the band has been drawing comparisons to Nick Cave & The Bad Seeds, Sonic Youth, and PJ Harvey with their quiet intensity and raw urgency.
So with 'Reaching' now available to stream and fresh memories of cold ocean swims in Newcastle and post-show drinks in quiet Welsh pubs, we sat down with Lucy Kruger to find out more about her first UK touring experience and what inspired this latest offering.
This recent UK tour marked a significant milestone as your first time playing extensively across the country. What were your initial expectations for this run of shows, and how did the reality compare?
In general, I try to keep my head high and my expectations low when it comes to the music industry. The feedback loops are strange, often delayed, and the financial system is quite skewed. I had heard that touring the UK was challenging, which was true in several essential ways, but it was also very lovely. Touring doesn’t always make practical sense, but once you accept or forget that, it can become a deeply meaningful experience.
You performed multiple dates across the UK. Was there a particular city or venue that created a stand-out memory for you, and what made it so special?
I always feel a bit strange naming favourites. I’m going to say that I loved all the cities that gave me a chance to be close to the sea. We had an unintentional night off in Newcastle and went for a swim in a very cold ocean. It woke me up and will remain a precious moment in my mind. In general, I found everyone to be kind and open, and that felt good.
Your live performances have been described as "electrifying" and "bordering the surreal.” How do you feel the UK audiences responded to that unique atmosphere you create on stage? Did you notice any particular reactions or energy from them?
I felt a lot of warmth. It’s interesting to observe different audiences from my vantage point. I make a lot of eye contact when I perform. I think it can be a bit intense for some. A few people came up to me after the shows to do something like apologise for not being so good with eye contact. When I apologised back (I think I learnt that from the English in the first place), they assured me they welcomed it but just wanted to explain why they couldn’t sustain it, or were simply sharing that it had been an intense experience.
You played at both Focus Wales and The Great Escape. How did performing at these larger festival environments differ from your headline shows, and what did you take away from those experiences specifically?
Showcase shows have a slightly manic energy to them. You play short sets that can sometimes feel like shouting to keep attention. I think we’ve found a way to do that, which still feels like us. It took me a while to get there, but now there is some pleasure in it. I try not to dwell too much on the idea that the room might be full of people watching through a critical lens. I was glad that people came to see us and felt excited to play. Our second show at The Great Escape took place in an old church, and I always take pleasure in playing in spaces that have a sense of ritual and spectacle.
What was your experience like at Focus Wales in particular? Did you get a chance to see any other acts, and how did you find the atmosphere of the festival itself?
I enjoyed it very much. I’m sad to say I didn’t get to see very much music, which is often the case when playing, but the environment felt sweet and lively. I can sometimes feel a bit overwhelmed by the crowds, but after our show we found a slightly quiet pub to have a post-show drink and I felt very content. Perhaps I’ll return in a somewhat less manic moment.
The Great Escape is known for showcasing emerging talent. What was it like to be part of that lineup, and did you feel a particular buzz or energy being part of such a diverse new music festival?
It was great to be a part of the festival, and Brighton is a very dreamy city. We all feel very jealous that we don’t live there. Because we were there for two days, we could see a little more music. I particularly enjoyed Westside Cowboy’s set.
Beyond the performances, what were some of your general impressions of touring in the UK for the first time? Were there any unexpected challenges or particularly pleasant surprises?
I think we got very lucky with the weather, and it sort of mirrored the experience. It all felt quite warm. It was our first time playing there, and so it wasn’t always easy to convince people to come out and listen. Quieter rooms can sometimes bring a sense of loneliness or existential pause, but when people did come to see, they were receptive and the connection felt good. The bands we played with were all very good — and nice — and the same goes for the sound engineers. As a driver, vegan, and coffee addict, I was very excited by the petrol stations. I try not to place too much emphasis on that — it is just a petrol station, after all — but I would say it had a strong influence on my positive impression of the UK. The exciting truth of a touring musician.
Your newest single, "Reaching," was released just before the tour. How did you find introducing new material like “Reaching” to live audiences on this tour? Did their reactions inform your perception of the song at all?
I imagine most of our material was new to most of our audience, so “Reaching” didn’t stand out in particular. All the songs can feel a bit unfamiliar when seen through a stranger’s lens, which can be both pleasant and disconcerting, depending on the night.
"Reaching" delves into themes of communication and disconnection. How did those themes resonate, if at all, with the experience of being on the road and performing for new audiences in a new country?
I suppose there was a feeling of sending something out into the ether with the hope that a few would hear and come closer. That can feel quite vulnerable — and often did on this tour.
Now that you've completed your first UK tour, what's next for Lucy Kruger & The Lost Boys in terms of future touring plans or returning to the UK?
We would love to come back, and I’m sure we will when the moment is right.
Looking back at the entire UK tour, what would you say was the most significant learning experience or moment of growth for you and the band?
One of the conversations in the van was about which character from Lord of the Rings everyone in the band might be, which led us all to confess how heartbroken we were that we couldn’t practise magic. At some point, Gidon commented that sometimes making music felt like magic — like conjuring something mysterious and powerful. That night was the show that was the most difficult in terms of attendance. It was challenging in many ways. I felt uneasy about having drawn the musicians away from their lives and families to play to a nearly empty room. When we started playing, I closed my eyes more than I usually do, gave my attention to my four band members, and felt something of what Gidon had spoken about.
Sometimes my ambition — and the surrounding capitalist reality — pushes me to want more, and sometimes I’m able to remember that I’m doing the thing I dreamt of doing, with four brilliant and kind bandmates. For a number of reasons, on this particular stretch of tour, I was constantly grateful for the chance to make music and travel with my friends.
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Check out ‘Reaching’ in the player below