REVIEW: Jane Remover's ATL Live Exhibit Tour Stop Might Be Their Best to Date
The hyper-experimental artist reaches a next-level connection with The Eastern's sold-out crowd
Since discovering Jane Remover’s debut projects (Frailty, Teen Week, Census Designated, Dariacore, etc.) around 2023, I immediately was blown away by how much talent was placed on display promising such great potential. Following in the footsteps of breaking hyperpop boundaries from DeadAir labelmates such as Kmoe, Quannnic, and formerly Quadeca, they had a promising future in this hyper-shoegaze lane they built for themself.
2025 hit, however, with the release of Revengeseekerz: a project influenced by the fusion of EDM and 2020’s underground hip-hop that inspired Remover around the time of their experience being on tour with JPEGMAFIA. What seemed like a total 180° was actually the most fitting move for them in that moment. Sampling a mix of video game sound effects and their own discography, it’s not only a concoction of what Jane had been building for the first half of the decade, but a combination of what their new peers (namely Lucy Bedroque and Ninajirachi) had been developing. The album was an immediate success between both their current fanbase and the one who would join soon after.
I was lucky enough to attend Jane’s “TURN UP OR DIE” tour last year, which had tickets initially priced at around $20 for the ATL stop. By the time the day of show came, resellers were pushing them for $500—at the cheapest. Being in that sweaty, boisterous ~600-person room, turning around to see everyone singing the recently released record word for word, I knew that would be the smallest room I’d ever experienced Jane Remover in again. And I was right.
Entering The Eastern for the North American leg of the Live Exhibit tour, the crowd for this show seemed 10 times larger, more dedicated, and more diverse than the last performance. Not that Remover hadn’t brought in a crowd like that last time, but it was instantly evident that it had fully evolved into a fandom. Cosplays, custom T-shirts, and fangirls: it was the most defined dress code for an underground rap show I’d seen yet.
Ever since their most iconic performances to date (those being the 2025 Lollapalooza and 2026 Coachella sets), Jane has fully embraced what makes them the face of hyperpop/underground rap (hyperrap? hyperhop?). Skipping the conventional opener for a much-welcomed Dazegxd DJ set (featuring both PinkPantheress tunes and the Fox NFL theme), Remover ran out on stage to what seemed to be “TWICE REMOVED,” until…silence. Their abrasive remixes were too much for The Eastern to take at first. What might have been a stumble for some was a boost for Jane. Forgoing the usual intro, the crowd was hit with the newest single “Beauty Sleep,” bringing the energy to even higher than my expectations had planned.
This setlist followed nearly the same timing, format, and tracklist as Revengeseekerz alongside recent singles, but sonically, the music couldn’t be more different from its original source. Most of the songs had new backing or breakdowns, acapella interpolations of old tracks from side projects (and Zendaya’s “Replay”), and the signature boundary pushing extremities of the “Leroychella” remixes. If you came just to hear the album be played from an aux cord, you might’ve been confused. But for me, who’s spun these tracks more times than I can count, this is exactly why I come to a live show. These new versions of the Jane Remover/Venturing/Leroy catalogs are what fans deserve to hear at these performances when so many of the artist’s underground rap contemporaries are just meandering to the songs played bass boosted over the speaker.
Hearing “homeswitcher” ring from The Eastern’s soundsystem, it was hard for me not to get a bit choked up seeing how far Jane Remover has made it. Redefining themself over their career and journey as an artist, I’m happily reminded how long I’ve stood by them anytime one of the classic era songs is played at a show. Bigger than ever, the genre-bending, multifaceted singer/producer is only on an upward trajectory with whatever direction their next project takes. But the most clear sign of this was what I witnessed when exiting the venue: seeing the disoriented, moshpit-traumatized parents leaving with their arms crossed as their teenagers left with the most radiant smile on their face, looking like they just saw an angel. If you can create that type of experience for people, that’s how you know you’ve made it.
