Lost In Lona (CH) - Tour 2026
Since the Lost in Lona debut "Scared Like A Mother and Her Gun" (2024), a lot has changed. Not loudly, but fundamentally. Lidia Beck and Konstantin Aebli, the duo from Basel and Zurich, have sharpened their sound, exposed themselves, and found the courage to look where it really hurts.
Even the first song, the title track of the album "The Killer," poses the uncomfortable question: How much pressure can a young person actually endure? In a world full of self-optimization, there is no space for lightness. Only the quiet realization: I waste my life most of the time.
The album tells of overwhelm, of old conversations that linger (Emily), of expectations that weigh like concrete on the chest (Disappointing Each Other).
It speaks of desire that slowly dissolves when recognition is absent (Looking For) and of decisions that never really feel right. "The Wrong Cards" tells of how much we sometimes call for security, while inwardly we want to escape long ago. In "Mathilda," Lidia Beck sings of her alter ego, an inner friend torn between two worlds. "Hold On" looks deeper: at family patterns that stretch across generations. "My mother’s mum – she was the one to fear her daughter’s growth."
And then there's "The Movies," a last song like a deep breath at the end. A quiet finale that leaves everything open. Let’s go to the movies and guess all the endings, and if they’re not soothing, I’m the only one attending. Despite all this heaviness, there is something comforting in these songs. Because they articulate what many think and rarely anyone says out loud. Because they create closeness where silence normally exists and because they show how much beauty lies in honesty.
"The Killer" is not a concept album, yet all the threads are interconnected. It's about being young in a world full of expectations. About self-criticism, about closeness, about fear, about new beginnings. With The Killer, Lost in Lona are closer to themselves than ever before.
Doors open at 7 PM, standing room only.