In a recent performance at The Atlantis, Jonah Kagen took the stage promptly to roaring applause, and the energy shifted from a more magical Anna Graves set to a magnetic pull into Kagen’s set. Kagan, a 25-year-old Savannah, Georgia native, is incredibly talented on the guitar, but in a way, he refuses to take himself seriously. Taking breaks between many of the songs to describe their backstory. He shared a specific story about living in a couple’s yard for three months, which led to their daughter learning the lyrics to “God Needs the Devil,” including the profanity in the chorus.
On Feb. 5, Kagen was accompanied by a three-piece band, Sam Johnston on guitar and mandolin, Jefferson Rinck on bass, and Dalton Thomas on drums. It’s not so often you hear a mandolin as a central instrument in a composition, but it filled a hole I didn’t know could be missing. Thomas, on the drums, laid down a steady and powerful beat through the strong riffs of Kagen’s guitar. Rinck tied it all together with a groovy and playful bass. A recurring comedic bit through the night involved Kagen “scolding” Rinck for playing “goofy riffs” during serious storytelling moments. This culminated in Rinck reading a pre-written statement acknowledging Kagen’s “handsome” features and general compassion. It served as a fitting counterweight to the “devastatingly sad” nature of the setlist.
The set began with “Simon,” a narrative track that explores themes of psychological unraveling and “losing one’s heart.” The beginning of the show served as the “leather” half of the tour’s title with the gritty track, “The Reaper.” The show then transitioned briefly into the “sunflower” segment. Kagen described “Candy Land” as the “happiest sounding song” on the set that is actually “very, very upsetting.”
Watch Jonah Kagen perform “Candy Land” live on YouTube:
Midway through the set, Kagan and his band pulled chairs onto the stage, leaving the standard standing position for a more intimate fireside atmosphere. Kagan performed “Black Lung” while seated, explaining that he “couldn’t express how angry he was” in the song while standing. Breaking up the tension between songs seems to be Kagen’s trademark as he spoke before performing “Colorado.” Kagan admitted the song was inspired by a girl in his college economics class whom he’d never actually spoken to but had “romanticized the shit out of” after a dream. They eventually dated for a year, an experience Kagen described as “the worst relationship probably ever.” The song captures the realization that the idealized version of her could only exist in his dreams.
A notable trend on the 2026 tour has been the surge of “moms” in the audience, which Kagen frequently pointed out. He shared a story of a woman who was “a strong eighty.” She had asked Kagen to sign a poster, and when he asked where she’d like it, she pulled back her shirt and said, “anywhere,” and eventually whispered, “I’ll make you forget about all those other girls bab.y” Kagan maintained this high level of engagement with the audience throughout the night, even taking suggestions from the audience on what to play.
The night had opened with Anna Graves, and she set the tone early. The 450 capacity venue was packed to the point of a communal hush during quiet moments and an eruptive roar during more powerful ones. Standing solo on stage, Graves presence was powerful and grounded. She was excellent with the crowd, communicating back and forth about the background of her songs. At one point, she even said she was all alone because she couldn’t afford to tour with a band. Honestly, Graves didn’t need the support of a band; she brought every powerful strum herself, and she stood the test.
Her set gave somewhat of a folk fantasy feeling, with one fan even saying she reminded her of Joan Baez, and that wasn’t far off once Graves put her harmonica holder around her neck. Her long red hair and flowing sleeves painted her as that old soul, but her songwriting explored themes of personal growth and “female rage,” which kept the feeling very modern. She treated The Atlantis with her song, releasing it the very same night! “Ashes & Smoke” showcased a voice capable of filling a room three times the size of The Atlantis.
The night concluded with a high-energy call and response during “Save My Soul” and the breakout success “God Needs the Devil,” which was certified gold the day before this show! The song reached No. 1 at Alternative Radio earlier in the tour cycle. For the encore, Kagen slowed things down for the title track “Sunflowers and Leather” before finishing with the Sam Barber collaboration “Burn Me,” leaving the crowd buzzing in a way that suggests this may be the last time Kagen plays in a room this small.
Setlist (Retrieved from setlist.fm)
Simon
The Reaper
Candy Land
You Again
Matches
Black Lung
Anvil
Colorado
Grief and Lonely Evenings
Same Wind
The Roads
Save My Soul
God Needs the Devil
Sunflowers and Leather
Burn Me
All photographs from Jonah Kagen’s performance at The Atlantis on Feb. 5, 2026, are copyright and courtesy of Caden Forrester (@flicksby4ster).
Jonah Kagen
Anna Graves
