REVIEW: ATL Fancies "An Evening with PinkPantheress" at Coca-Cola Roxy
- Mikey Smith
- 2 days ago
- 3 min read
The pop singer/producer goes stateside for a well-deserved victory lap
The modern pop world is a difficult game to win. With the rise of viral TikTok cravings and style-over-substance brands that plague the industry, it’s hard to find artistry that feels authentic (and when it does, these artists are often criticized for “trying too hard.”) For years, Victoria “Vicky” Walker, professionally known as PinkPantheress, was has been an underdog. Even as a rising voice in the mainstream, her art still felt under-appreciated in the larger conversation. Her notoriously short, 2-minutes-or-less songs made a splash on the internet, later establishing the trend of similar track lengths in online pop and alternative spheres.
Still, it wouldn’t be until the release of her 2025 mixtape, Fancy That (and its feature-studded remix counterpart, Fancy Some More?) that we saw Pink take off to new heights. From dance trends, the boost of the Y2K flannel-fashion revival, and the now-famous Alysa Liu figure skating number set to the “Stateside” remix with Zara Larsson, the U.K. singer/producer continued her upward trajectory to dominating the pop world.
When her latest tour, billed as An Evening with PinkPantheress, completely sold out, how would she respond to the sky-high expectations of her fans? Short answer: she delivered tenfold.
I was lucky enough to catch her performance at Coca-Cola Roxy in Atlanta, and my jaw dropped at the mix of classic U.K. club vibes swirled with the Fancy That aesthetic in the fashion of fans. The singer joking asked ATL if the venue was ever used as a nightclub (it hasn’t, as far as the crowd knew) due to its upbeat atmosphere.
PinkPantheress was accompanied onstage by her very own DJ Joe, session drummer Blake Cascoe, and a group of live dancers to give full classic-pop energy. The breakcore and fashion runway drum beats that linger throughout most of her self-produced discography immersed the sold-out crowd into the show and proved why these records deserve to be heard live.
She also acknowledged the benefits of her short song lengths, citing that this is one of the few major tours out there where you can hear an artist’s stacked discography almost in totality. Sure, classic hits like “Boy’s a Liar Pt. 2” and “Pain” got the audience into a groove, but even the deeper cuts were being belted back to Pink (a particular highlight being “Angel” off the Barbie soundtrack). She also gave credit to those who influenced or were sampled on her newest work. Plenty of Basement Jaxx found its way into the mix, but the crowd was most ecstatic to hear her remix of Troye Sivan’s club classic “Rush.”
This all comes back to the main question: how does PinkPantheress’ show compare to the rest of this competitive pop-queen space? Her secret weapon is relatability—she’s having just as much fun onstage as the high-energy audience. Often, these theatric-heavy concerts lean too far away from the live music aspect of the show, leading listeners to feel less connected to the sonic elements of the show. I, personally, never felt like the interludes or choreography detracted from the star-studded value of the music. In fact, I can’t imagine what this mixtape would be like live without its mesmerizing visuals.
In the end, I feel like this tour marks the beginning of PinkPantheress’ pop world domination. Seeing the dedication from her diehard fanbase to sell out her headlining tour, it’s no question that there will be more eyes than ever on her next creative moves. Atlanta certainly fancies some more of whatever she has cooking.
