Malcolm Todd’s 2026 album tour draws a sold-out Greek Theatre crowd

By Elena Vasquez

Malcolm Todd performed a sold-out show at The Greek Theatre while touring his 2026 album Do That Again. The venue sign read “MALCOLM TODD – SOLD OUT.”

I took a bus up the hill, walked inside and found a packed crowd of fans in red shirts. The scale and colour announced the occasion before Todd appeared onstage.

Todd works across soul, R&B and pop, with vulnerable lyrics at the centre of his songs. He went viral with “Art House” and “Roommates,” then signed with Columbia Records. He has since built a strong following, with “Chest Pain (I Love),” “Sweet Boy” and “Earrings” gaining global recognition. His 2026 album Do That Again began its touring and promotional cycle this year.

What did Todd show before the band began?

My first encounter with this version of Todd came at his sister Audrey Hobert’s show. He made a surprise appearance, jumped onto trampolines beside her and sang “Sue me.” The room’s energy changed and appeared to reorganise around the siblings, making their connection and synergy unusually visible.

Todd also mixed silliness and levity with complete seriousness and confidence. I had not seen that combination in him before, and it informed his more expansive staging at The Greek Theatre.

The concert began with a red screen flashing onstage. A video introduced each band member backstage, while an announcer called their names as they popped up onscreen. The musicians then ran out one by one, and Todd entered last. After a moment of darkness, the lights returned as the band started “Jean Skirt,” “Breathe” and “Malcolm in the Middle.” One lyric read: “Don’t fall asleep, you love me much too well. If you can’t hear a word I say, then I won’t make a sound.”

Taken together, the entrance established Todd’s balance between playful showmanship and sincere confidence.

How did staging reshape each song?

Todd used the stage as more than a platform for performance. During “Walk to Class,” he and the band appeared to move through a city while playing in a line. The arrangement gave the song a visual narrative without interrupting its momentum.

For “X’s & O’s,” Todd sang into a red phone. Clips showed characters from famous movies delivering impassioned telephone speeches, linking the prop to a broader catalogue of cinematic moments.

“Obsessica” presented a host of girls’ names back-to-back. The names in the lyrics matched the sequence in perfect sync with his singing: “I said Felicia, Brandy, Marley, and Jess, yeah I said I think I’m a little bit obsessed … Selena and Rina, Gina and Carly and Haley.”

The crowd settled when Todd sat at the piano for “Gun To My Head” and “Good Bye.” His piano placement for both songs produced the set’s clearest physical build, as the band formed a circle at the rear and eventually joined him. I found “Gun To My Head” a highlight. Looking into the packed crowd, Todd appeared taken aback and said, “I’m a lucky guy.”

He then looked around cheekily and announced, “Wait…I’ve been looking all over for these!” The camera zoomed in on two earrings lying on the ground. The band immediately began his recent hit “Earrings.”

My personal favourite, “I Saw Your Face,” followed. Todd opened and closed the song with the line, “Life’s not a movie, I’m not a movie star,” bringing the earlier telephone and film clips back into the performance.

The staging worked best when each song became a distinct visual event.

Why did the Magic 8 Ball work?

The band ran offstage, and the screen turned red again. A series of questions appeared, answered by a Magic 8 Ball:

• “SHOULD I END THE SHOW?” — “DON’T DO THAT AGAIN.”
• “SHOULD I GO BACK TO SCOOPING ICE CREAM?” — “DON’T DO THAT AGAIN.”
• “SHOULD I SING ANOTHER SONG?” — “DO THAT AGAIN.”

The final response prompted a roar from the crowd. A video montage then showed Todd at different points throughout his life and career, giving the staging a direct link to the history behind the album title.

The sequence felt like a genuine way into the final songs. Todd launched the closing run with “Do That Again,” “Leave It All to Me” and “Roommates.” “Leave It All to Me” was a cover of the iCarly theme song, bringing the show’s mixture of confession, comedy and pop nostalgia into one number.

The confidence I saw at Audrey Hobert’s show had returned, alongside earnestness, humour and anxious emotion in both Todd’s performances and songs. As someone who barely knew him before Hobert’s show, I was glad to witness that transformation. I left ready to tell him to do that again.

For the continuing 2026 tour, the benchmark is simple: preserve this playful intimacy, and the staging can remain one of the show’s strongest assets.