Anybody who laments that L.A. crowds don’t dance ought to go to one of many final units of Jane Remover’s three-night stand on the Fonda this weekend. It had essentially the most genuinely raucous pit I’ve seen in 2026, made all of the extra feral for the way candy and earnest it was. After a hotly tipped Coachella set, this Reside Exhibit tour affirmed that the subculture Jane Remover constructed could or could not have wider pop potential, however it’s getting sufficiently big to rely for stardom within the fractured music world of at the moment.
Jane Remover is a trans polymath producer and singer-songwriter with influences throughout rave, shoegaze, entice and past. They’ve constructed up a ferocious elaboration on the hyperpop of predecessors like Sophie, who equally packed so many good concepts into songs they grew to become talismanic to followers, a tonic to reinvent your self (new Charli XCX opener Underscores is one other fellow traveler).
The music itself seems like reverse-engineering the second within the 2000s when metalcore children found EDM. Solely now it’s Discord-disaffected youth ramping up hardstyle techno, autotuned girlypop ballads and rage-rap to an explosive fusion level. “Census Designated,” Jane’s brash and dramatic 2023 coming-out LP, tipped them as a drive past the underground. However they quickly eclipsed it with 2025’s “Revengeseekerz,” a deliriously overheated mixture of romantic craving, web score-settling and virtuosic manufacturing prowess.
Backed by only a DJ (Dazedgxd, who opened the set) and a retina-scorching mild rig up entrance, Jane acknowledged on Thursday that the stakes have been getting a lot larger. They joked that they’d performed the El Rey like thrice earlier than this tour, and to evaluate by the wild-eyed passions out within the viewers, the Fonda will most likely be the smallest venue they’ll play for a while. “It will get so chilly this excessive up,” Jane sang on “Flip Up or Die.” “Can’t go to hell however I can drop you off.”
The emotions driving the music are ultramodern: self-aware, vicious and desperately susceptible. The hilariously zesty “Angels in Camo” (house to the all-time banger of a line: “Jesus by no means had it with a freak b—”) wrapped up with a bloodletting plea that “I can’t allow you to b— win.” Jane wields that phrase just like the flaming sword on the “Revengeseekerz” album cowl, with all of the informal lustiness of Future but in addition the wrath of a reclaimed slur.
On “Skilled Vengeance,” they grappled with the bizarre lures of celeb and intimacy, the place nobody actually is aware of anybody however need nonetheless programs; “Experimental Pores and skin” discovered them craving and combating off God and nihilism and know-how and habit abruptly.
The stress in these tracks are the binding agent for Jane’s fan base — the music is filled with contradictions and incompatibilities smashing collectively that simply really feel like being younger proper now. Aside from a fast affirmation that followers of all identities and backgrounds will at all times be welcome at their exhibits, they let the contorting, violent music converse for itself about the way in which queer followers are feeling about life below siege in the US.
If the set was a bit too lengthy for the restricted setup onstage, it was as a result of Jane merely had that a lot music to set free — that caliber of emotion to unburden, that a lot need to acknowledge. It appeared just like the set was closing with “Within the Darkish,” an aching ballad from their Venturing facet mission, plainly declaring “I nonetheless dream of us” via a fog of results. However as an alternative they ramped it again up for one final cathartic blast to shut, sending their devoted out onto Hollywood Boulevard, sweaty and filthy and basically recognized.
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