Grammy-nominated star Sombr proves his superstar status in chaotic Brisbane debut

Grammy-nominated star Sombr proves his superstar status in chaotic Brisbane debut

At just 20, this breakout star headed to Brisbane for the first time and turned a debut into a declaration – the hype is real.

At just 20, this breakout star headed to Brisbane for the first time and turned a debut into a declaration – the hype is real.

Rising star Sombr performs his first-ever Brisbane show on Thursday night at the Fortitude Music Hall. Photo: Supplied.

Going to Sombr’s first-ever Brisbane concert on Thursday night felt like being part of a secret inner circle, the ones who already know this kid’s going to be massive, even if the rest of the city hasn’t caught on yet.

You might not know his name off the top of your head just yet, but chances are you already know the songs.

At just 20, the New York City native has quietly taken over Spotify charts, radio playlists and, of course, the TikTok For You Page, with hit tracks like Undressed, Back to Friends and Twelve to Twelve.

That momentum has translated fast.

Sombr, whose real name is Shane Michael Boose, received a major Grammy nomination for Best New Artist at the upcoming 2026 Grammy Awards, announced in November, following the runaway success of breakout singles like Back to Friends and his debut album I Barely Know Her.

It’s the kind of recognition that usually comes years in, not months.


On paper, the numbers still shouldn’t have worked yet.

The Late Nights & Young Romance Tour marks Sombr’s first run through Australia and New Zealand, and he’s only properly stepped onto the global stage this year.

But inside the venue, you wouldn’t have known it.


"Brisbane showed up loud, loyal and already fully obsessed."

"Brisbane showed up loud, loyal and already fully obsessed."

"Brisbane showed up loud, loyal and already fully obsessed."

Sombr emerged wearing leopard-print pants and a silver sequin top, his midriff unapologetically on display as he slid across the stage with awkward, endearing dance moves that felt half rock star, half bedroom pop performer figuring it out in real time.

The stage leaned retro, washed in warm orange light and dressed like a surreal office set, a strangely perfect backdrop for an artist whose entire rise has happened online.

Opening with i wish i knew how to quit you, Sombr immediately proved why he’s connecting so deeply with Gen Z.

There was rawness here – not over-rehearsed, not overly polished – just magnetic stage presence and an unfiltered sense that he’s still slightly surprised anyone is watching.

Yet watch they did.

For an artist so early in his career, Sombr already commands a legion of devoted fans.

The average age in the room hovered around 18, a reminder that he is very much a TikTok-generation artist, one who didn’t grind through years of traditional radio play, but instead found his audience where they already live.


From the opening moments, the crowd sang almost every lyric, often louder than Sombr himself, turning the room into a collective singalong rather than a one-way performance.

Three-quarters of the way through the set, the physicality of the show caught up with him.

His sequined shirt began to rip at the sleeve, a noticeable gap forming as his movements grew more intense.

He didn’t stop.

He didn’t acknowledge it.

Fully immersed, Sombr powered on, the wardrobe malfunction only reinforcing the sense that nothing about this performance was being held back.

“Brisbane, I think this is the craziest crowd yet,” he told fans just two songs in, revealing some had camped out for a full 24 hours after spotting him arriving in the city the night before.

In true Gen Z fashion, strangers shared portable phone chargers in the stalls, while bartenders danced behind the bar as Sombr demanded the crowd jump, and they did, without hesitation. Rock star kicks, mic stand grabs, head bangs and air punches punctuated the set, particularly during fan favourites like Undressed and Back to Friends, which sent the room into a frenzy.


And it was that contrast — the smallest of human interruptions inside the biggest of pop spectacles — that somehow made the night even bigger. Because rewind to the beginning, and this show began in absolute fury.

“Brisbane, put your f*cking paws up,” Gaga said. With that command, Lady Gaga didn’t so much begin her Mayhem Ball show at Suncorp Stadium as detonate it.


From the first operatic seconds of Bloody Mary into the feral pulse of Abracadabra, the energy was immediate and overwhelming. This was the most high-octane crowd I have ever seen at Suncorp, hands in the air on command every 30 seconds like we were being willingly hypnotised. The wristband lights pulsed like a living organism. The pit became a throbbing heart.

What unfolded over the next three hours felt less like a concert and more like a polished Broadway musical colliding head-on with a Hollywood blockbuster. Gothic renaissance ruins. Spiral staircases. Castles, skulls, skeletons and sandboxes. Across an epic 32-song setlist, Gaga tore through two decades of hits and reinvention without a single lull — a rare feat for a stadium performance of this scale.


She emerged in a ten-foot-tall dress, later clawed her way out of sand beside a skeleton for Disease, before returning transformed in chrome shoulder armour and silver crutches for a reimagined Paparazzi, dragging a seemingly endless illuminated train behind her. At times there were 16 dancers on stage alongside her full band, pyrotechnics firing relentlessly as strobes pushed sensory overload to euphoric extremes.

The chaos was precision-engineered. The costumes immaculate. The story arc deliberate.


And it was that contrast — the smallest of human interruptions inside the biggest of pop spectacles — that somehow made the night even bigger. Because rewind to the beginning, and this show began in absolute fury.

“Brisbane, put your f*cking paws up,” Gaga said. With that command, Lady Gaga didn’t so much begin her Mayhem Ball show at Suncorp Stadium as detonate it.


From the first operatic seconds of Bloody Mary into the feral pulse of Abracadabra, the energy was immediate and overwhelming. This was the most high-octane crowd I have ever seen at Suncorp, hands in the air on command every 30 seconds like we were being willingly hypnotised. The wristband lights pulsed like a living organism. The pit became a throbbing heart.

What unfolded over the next three hours felt less like a concert and more like a polished Broadway musical colliding head-on with a Hollywood blockbuster. Gothic renaissance ruins. Spiral staircases. Castles, skulls, skeletons and sandboxes. Across an epic 32-song setlist, Gaga tore through two decades of hits and reinvention without a single lull — a rare feat for a stadium performance of this scale.


She emerged in a ten-foot-tall dress, later clawed her way out of sand beside a skeleton for Disease, before returning transformed in chrome shoulder armour and silver crutches for a reimagined Paparazzi, dragging a seemingly endless illuminated train behind her. At times there were 16 dancers on stage alongside her full band, pyrotechnics firing relentlessly as strobes pushed sensory overload to euphoric extremes.

The chaos was precision-engineered. The costumes immaculate. The story arc deliberate.


Rising star Sombr performs his first-ever Brisbane show on Thursday night at the Fortitude Music Hall. Photo: Supplied.

Rising star Sombr performs his first-ever Brisbane show on Thursday night at the Fortitude Music Hall. Photo: Supplied.

Rising star Sombr performs his first-ever Brisbane show on Thursday night at the Fortitude Music Hall. Photo: Supplied.

He slipped behind the piano during several songs, grounding the chaos with moments of genuine musicianship, before later picking up an acoustic guitar for Caroline, giving the crowd a breather without ever losing them.

At one point, he addressed being labelled a “performative male,” brushing it off with a grin and insisting he’s simply a performer.

Watching him command the room, it was hard to argue.

A quick outfit change swapped leopard print for zebra-striped flared jeans before a grand pre-encore moment saw him leap into the crowd, finishing the number collapsed on the floor in theatrical exhaustion.


For the encore, Sombr returned with his now-viral custom mic stand, its rounded base designed to sway and rebound rather than topple.

He shoved and leaned into it as it rocked back upright each time, a playful visual that matched energy of the performance.

Then came Twelve to Twelve, the song that changed everything.

After its music video featured Addison Rae, the track exploded online, becoming the unofficial soundtrack to The Summer I Turned Pretty fan edits and late-night TikTok scrolling sessions worldwide.

Performed as the ultimate finale, it felt like a full-circle moment, made even more personal when Sombr changed the lyrics for his Brisbane audience.

“Met at a Brisbane cafe, I said can I sit with you, mate?” he sang, swapping out the original Paris reference.

“You guys have been f*cking crazy, this is such a fun show, brisbane i want to come back here for the rest of my life, you guys are amazing. this is my first ever show here and you guys are f*cking insane,” he told the crowd.

Leaving the venue, it was hard not to feel like we’d just seen the beginning of something major.

Not just a trend, the emergence of a true superstar, already met with absolute belief from the Brisbane crowd.

© Georgia Clelland 2026

© Georgia Clelland 2026

© Georgia Clelland 2026