Eliza McLamb
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ARTIST PROFILE | Eliza McLamb
It appears to be a trophy at first. Look closer, and you’ll see the cover of Good Story features Eliza McLamb holding a makeshift award, hot-glued together from scraps she and her mother salvaged. It is, of course, silver — a self-deprecating wink introducing the timbre of McLamb’s sophomore album. These last few years, McLamb’s been parsing her upbringing, the songs she wrote about it, and the whole endeavor of the stories we tell about ourselves. “If you get really good at telling the story of who you are, you become the story you told instead of the ever-dynamic, ever-changing person you have to be,” McLamb says. “I did really well telling the story of who I am, but I began asking: What’s the point of it?”
At only 23, McLamb has already lived multiple lives. In her late teens, McLamb found success via co-hosting the podcast Binchtopia and sharing songs on TikTok. She soon pulled back from the platform, feeling it didn’t represent her actual ethos as a songwriter. Instead, she signed to Royal Mountain and released her 2024 debut Going Through It, a document of a complex, traumatic childhood that led to searching phases — dropping out of college during the pandemic in favor of working on Midwest farms, eventually leaving her North Carolina hometown behind for Los Angeles. It all gave her plenty of stories to tell on Going Through It. And now on Good Story, she wonders how that process affected her. Yet the homemade trophy of Good Story’s cover is far from a jocular consolation prize alone. It’s a symbol of the layered, accomplished writing McLamb arrived at as she interrogated everything she thought she was about as an artist.
After touring Going Through It in the spring of 2024, McLamb began writing new material and found herself encountering an age-old trope. “I felt like I had spent my whole life writing the first record,” she says. She could’ve mined her experience for a whole catalog of music, but she wanted to step back and reassess her impulses as a writer. Good Story directly reflects upon the process of making not only Going Through It, but the process of making art derived from our personal lives altogether. “I carved out room and brought in new songs that felt fresher, able to pick up on ideas outside of this compulsion to build a personal narrative,” McLamb explains. Then, she laughs: “But then I wrote all these songs about the compulsion to make a personal narrative.”
Though Los Angeles had served her well for a time, McLamb had begun to feel suffocated by her life there. “I was on a personal mission to stop being so solipsistic,” she cracks. It led to another cross-country move to New York City. She found herself reinvigorated by being in a dense city colliding with so many different people. She fell into new scenes — music circles, but also literary crowds. Inspired by her new surroundings, McLamb’s writing process changed too. Songs arrived to her while on the subway, or on walks near her apartment.
Once she had enough material, McLamb reconvened in upstate New York with guitarist Jacob Blizard and illuminati hotties’ Sarah Tudzin, who had produced Going Through It. A greater sense of confidence allowed McLamb to open herself up to co-writing. Before Going Through It, McLamb had never played with a band. Now seasoned by the road, she began thinking about how songs would work live as she wrote. In the spring of 2025, she met up with an all-star crew of musicians at Drop of Sun Studios in Asheville, including Tudzin and Blizard, bassist Ryan Ficano, keyboardist Sarah Goldstone, and Death Cab For Cutie drummer Jason McGerr.
The phrase “good story” can be loaded and malleable. A “good story,” as McLamb asserts, is often about a horrible tragedy. A “good story” is something that can be weaponized by governments or media. Eventually, it became the meta title perfect for this body of work, in which McLamb continued to pull from chapters of her life while dissecting her drive to write. Accordingly, there is a degree of observational distance this time around, with few songs dropped directly into the moment they’re depicting. “This whole record, it was like I was transient, flicking through the rolodex of my own memories and how they were organized and why they were organized that way,” McLamb says. Though the entire premise of Good Story can be heady, McLamb writes with such an incisive eye, unvarnished honesty, and self-effacing humor that the project is thematically rich without becoming academic.
For McLamb, Good Story’s thesis statement arrives in “Every Year,” when she sings: “My stories kept me safe but now I understand/ A story is a lifeboat and sometimes there is land.” By zooming out, McLamb spends Good Story turning experiences over into new lights. The earworm chorus of “Like The Boys” looks back on wild teenage years as an attempt to gain agency and control. Other songs close chapters and say goodbye to eras too. “California” is a more sentimental farewell to McLamb’s erstwhile home (it actually predates the more spiteful 2024 single “God Take Me Out Of LA”) that swoons with an arrangement that sits at the intersection of ‘90s pop- and alt-rock.
Elsewhere, “Suffering” is a wry, self-effacing track about one’s tendency to hold their wounds close. It begins with a feint, a baroque piano intro over which McLamb slyly repurposes people’s perceptions of her from the Going Through It era — she goes from a “poor maudlin child” to singing about getting off on suffering over giant, scuzzy guitars. By the end of the album, McLamb also finds empowerment in it all. “I complain but I love the cage,” she sings in closer “Getting Free.” “I love getting free just because I can.”
“I’ve made so many choices in my life that were ill-advised,” McLamb says. “But one of my favorite things about myself is my courage to leave a situation for something that’s more aligned.” McLamb could’ve taken the “easy” route of rehashing Going Through It for years to come. Instead, Good Story transposes its predecessor’s memoirist approach to a series of multifaceted vignettes. There is no prescribed evolution or end destination, but snapshots of an artist in motion, writing a record about storytelling itself. “It’s an investigation into what a story actually does for me,” McLamb concludes. “The point is that not everything fits into a narrative.” This time around, that’s where McLamb leaves it. These are moments collected, without looking for the big release, the big revelation. This time, the poignance comes in that acceptance, in Good Story saying that, for now: That’s OK. That’s enough.
READ MORE >>Supporting Acts
SHOW BY SIMILAR ARTISTS
About HI-FI | Indianapolis, IN
HI-FI is located inside the historic Murphy Arts Center in the heart of Fountain Square. HI-FI hosts shows virtually every night of the week and is known for finding new artists on the rise. The venue is acoustically one of the best sounding venues in the Midwest. The entrance is located at the front of the building on Virginia Ave and the Indianapolis Cultural Trail.
Getting Around the Venue
Frequently Asked Questions About HI-FI | Indianapolis, IN
What are the age restrictions at this venue?
Most of our gigs are open to those of all ages, though there are a few exceptions. Double-check our website for specific age requirements before getting your tickets. We’ve made it super easy to spot the age restrictions on each event listing.
If you are going to indulge in a seating upgrade in our VIP area, all guests must be 21 years of age or older.
HI-FI requires a valid ID for admission. For guests who will be consuming alcoholic beverages, a valid state or government issues ID is required. Everyone will be carded during check-in. Expired and temporary ID’s are not accepted.
Can I upgrade my to VIP seating?
HI-FI proudly offers our VIP Deck, situated at the rear of the venue. This elevated section features table seating and provides convenient access to the bar. Please be advised that all guests in this area must be 21 years of age or older. For seating upgrade inquiries, please contact the box office at boxoffice@hifiindy.com
What items are permitted or prohibited at this venue?
At our venues, we strive to ensure a safe and enjoyable experience for all guests. While specific rules may vary slightly depending on the event location, the following list generally applies across all venues.
Any illegal items found will be confiscated immediately. Guests discovered with prohibited items inside the venue may face ejection, and those attempting to enter with such items may be denied entry.
We appreciate your cooperation in adhering to these guidelines to ensure everyone’s safety and enjoyment during our events.
Permitted Items Include:
- All bags and possessions are subject to search and may be subject to metal detection. No backpacks are permitted at any of our venues.
- Clear tote or bag made from plastic, vinyl or PVC that does not exceed 14” x 14” in size.
- Personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size
- A warm heart and smiles
Prohibited items include:
- Weapons of any kind: Firearms (with or without permit), knives (any size), multi-tools
- Pepper Spray or Mace
- Flares or Fireworks
- Oversized bags (Bag larger than 12” x 12”, including all backpacks, briefcases, luggage, or duffle bags)
- Illegal Substances
- Outside Beverages
- Laser Pointers
- Removable lens cameras or flash photography, tripods, monopods, selfie-sticks (unless pre-approved by Event Manager)
- Audio or Video recording devices (unless pre-approved by Event Manager)
- Signs larger than 11” x 17” or any sign attached to a stick or pole
- Skateboards, hoverboards, rollerblades, scooters, or bicycles
- Hula hoops, spray paint, silly string
- Noise Making devices (i.e. Air Horns, drums, whistles)
- Coolers or Ice Chests
- Animals/Pets (Except Service Animals)
HI-FI reserves the right to prohibit any item, including items not listed above, from entering the premises if deemed hazardous or disruptive to the event.
Can I bring a bag into the show?
Yes! You’re welcome to bring personal purse, fanny pack or handbag so long as it does not exceed 14” x 14” in size. No backpacks are permitted at any time.
What’s the parking situation like?
Depending on the day and time, finding a spot can be tricky. On busy show days we advise arriving early to ensure you get a good spot.
We’re excited to announce our partnership with LAZ Parking to offer pre-paid parking options for HI-FI and HI-FI Annex events. The lot is conveniently located directly next to HI-FI Annex, in the former PNC Bank parking lot. Check here for parking availability ahead of your show.
Parking is free on all of the surrounding streets in Fountain Square and most parking lots.
We advise against traveling down St. Patrick St on show days, as it can become congested one-way with traffic coming from both directions.
Bike parking is available at any of the bike racks on Virginia Ave in front of HI-FI.
What is the camera/photo policy for this venue?
Our photo policy varies for each event and is at the discretion of the artist performing that night. This policy can change from night to night.
As a general guideline, we typically do not permit professional photography unless it has been pre-approved by either HI-FI or the Artist Management.
For approved photographers, you’re welcome to snap photos during the first three songs of the performance. However, please refrain from using flash.
Media personnel and professional photographers interested in covering our events can reach out to us at marketing@hifiindy.com to request media credentials.
Is there food and drink at this venue?
Absolutely! You can grab some chips, candy, or snacks at HI-FI’s bar.
View seating maps for this venue
Check your show listing for information on the show’s seating configuration. The majority of HI-FI shows are general admission, standing-room-only. Depending on the show, there are a handful of tables available to those who arrive early. There is a limited amount of seating upgrades available on the VIP deck. Contact the box office to secure a seating upgrade for your show at boxoffice@hifiindy.com. Shows that are reserved or partially reserved seating configurations will have information or purchase options directly on the event listing.
Can I leave and re-enter the venue?
Re-entry is allowed for HI-FI shows once you’ve been stamped or wristbanded by a member of our staff.
Do you offer ADA, handicap or special needs options?
There are 2 handicapped parking spots in the lot located across Prospect St. closest to El Arado Mexican Grill. The box office handles any special needs or ADA seating requests at boxoffice@hifiindy.com.
Where is the box office located?
Getting tickets to our shows is super easy! You have a few options, depending on how you like to roll:
Online: Grab your tickets in advance from our official websites, hifiindy.com and mokbpresents.com, or through our trusted ticketing partner tixr.com.
In Person: Swing by one of our convenient box office locations around the Murphy Arts Center building and grab tickets with no service fees:
HI-FI Box Office: Found at 1043 Virginia Ave Suite 4 (at the main entrance to HI-FI). Open only on show nights, starting 1 hour before published show times until 10 pm.
Annex Box Office: Found at 1065 St. Patrick Street (at the main entrance to Annex). Open only on show nights, starting 1 hour before published show times until 9 pm.
I lost something at the show. Who do I contact?
Have you misplaced something during one of our events? Don’t worry, we’re here to help reunite you with your belongings! While we can’t take responsibility for lost or stolen items, we’re committed to assisting you in any way we can.
Found items are securely stored at our office until they’re claimed. Please note that items lost during late-night events might take until the next morning to reach our lost and found. We know you might be eager to retrieve your belongings (like that phone you’re pinging outside our door at 6 am), but our team typically wraps up late-night events and may not be available until later in the morning.
To inquire about lost items, shoot us an email at boxoffice@hifiindy.com. Found items can be picked up in our Office (Suite 2) Monday – Fridays 10am – 6pm. Guests may be required to provide identification or another form of verification to claim their items.
Let’s work together to get your goods back to you as quickly as possible!
What is your refund policy?
What’s Your Refund Policy for Postponed Shows?
If a show gets postponed, don’t sweat it! We’ll shoot you an email to let you know about the change, and if you’re cool with the new date, no further action is needed on your part.We’ll be working diligently to find a new date for the show, and we’ll keep you updated every step of the way. But if you can’t make it to the rescheduled gig, we’ve got your back. You’ll have a generous 30-day window following the announcement of the new date to request a refund.
For those who paid with cash at our box office, just drop us a line at boxoffice@hifiindy.com for further instructions on processing your refund.
Please bear with us as we explore rescheduling options with the tour. Your patience is much appreciated as we work to present the best possible show experience for you.
What’s the Refund Policy for Canceled Shows?
In the unfortunate event of a canceled show, don’t fret! If you purchased your tickets online, your refund will be processed automatically. Just sit tight and allow 3-5 business days for the refund to appear in your bank account.
No need to lift a finger! However, there are a few scenarios where you might need to reach out to our box office:
- If you paid cash at our box office.
- If you’ve received a new or different card since your original purchase.
- If you haven’t seen the refund in your account after 5 business days.
What Happens if a Show Gets Rescheduled?
No worries! If a show you’ve already grabbed tickets for gets rescheduled, your tickets will still be valid for the new date. We’ll shoot you an email to let you know about the change, and if you’re good to go for the new date, no further action is needed on your part.
However, if you can’t make it to the rescheduled gig, we’ve got you covered. You’ll have a generous 30 days from the announcement of the new date to request a refund. Just reach out directly to our box office to kickstart the process.
Beware of counterfeit tickets. How do I tell if my ticket is valid?
It’s crucial for all buyers to exercise caution when purchasing tickets from unauthorized sites and ticket resellers. Tixr is the only ticket vendor supported at our venues. Unfortunately, this is a widespread issue affecting venues nationwide, and true fans often find themselves at a loss. Regrettably, there’s little we can do in such situations. Since the original transaction didn’t occur through our authorized ticketing partners, we lack the necessary information to assist. It’s disheartening to witness fans being taken advantage of, especially on platforms like Craigslist, Facebook, StubHub, VividSeats, SeatGeek, and others. We are only obligated to honor valid tickets purchased through our approved channels.
Can I purchase tickets in person without fees?
Yes. HI-FI box office is located at the main entrance off of Virginia Avenue. The box office is open 1 hour prior to the published door time. Additionally, our Annex Box Office on St. Patrick Street, across from the church, is also open 1 hour prior to the published door time on Annex show nights. HI-FI accepts cash as well as all major credit cards for ticket purchases.
Do you have free WI-FI?
Yes. HI-FI offers free WI-FI during all shows. Simply select the HI-FI Free WI-FI network and you are all set!
Eliza McLamb
Start Time: 8:00 pm
Good Story Tour
Buy Tickets
ARTIST PROFILE | Eliza McLamb
It appears to be a trophy at first. Look closer, and you’ll see the cover of Good Story features Eliza McLamb holding a makeshift award, hot-glued together from scraps she and her mother salvaged. It is, of course, silver — a self-deprecating wink introducing the timbre of McLamb’s sophomore album. These last few years, McLamb’s been parsing her upbringing, the songs she wrote about it, and the whole endeavor of the stories we tell about ourselves. “If you get really good at telling the story of who you are, you become the story you told instead of the ever-dynamic, ever-changing person you have to be,” McLamb says. “I did really well telling the story of who I am, but I began asking: What’s the point of it?”
At only 23, McLamb has already lived multiple lives. In her late teens, McLamb found success via co-hosting the podcast Binchtopia and sharing songs on TikTok. She soon pulled back from the platform, feeling it didn’t represent her actual ethos as a songwriter. Instead, she signed to Royal Mountain and released her 2024 debut Going Through It, a document of a complex, traumatic childhood that led to searching phases — dropping out of college during the pandemic in favor of working on Midwest farms, eventually leaving her North Carolina hometown behind for Los Angeles. It all gave her plenty of stories to tell on Going Through It. And now on Good Story, she wonders how that process affected her. Yet the homemade trophy of Good Story’s cover is far from a jocular consolation prize alone. It’s a symbol of the layered, accomplished writing McLamb arrived at as she interrogated everything she thought she was about as an artist.
After touring Going Through It in the spring of 2024, McLamb began writing new material and found herself encountering an age-old trope. “I felt like I had spent my whole life writing the first record,” she says. She could’ve mined her experience for a whole catalog of music, but she wanted to step back and reassess her impulses as a writer. Good Story directly reflects upon the process of making not only Going Through It, but the process of making art derived from our personal lives altogether. “I carved out room and brought in new songs that felt fresher, able to pick up on ideas outside of this compulsion to build a personal narrative,” McLamb explains. Then, she laughs: “But then I wrote all these songs about the compulsion to make a personal narrative.”
Though Los Angeles had served her well for a time, McLamb had begun to feel suffocated by her life there. “I was on a personal mission to stop being so solipsistic,” she cracks. It led to another cross-country move to New York City. She found herself reinvigorated by being in a dense city colliding with so many different people. She fell into new scenes — music circles, but also literary crowds. Inspired by her new surroundings, McLamb’s writing process changed too. Songs arrived to her while on the subway, or on walks near her apartment.
Once she had enough material, McLamb reconvened in upstate New York with guitarist Jacob Blizard and illuminati hotties’ Sarah Tudzin, who had produced Going Through It. A greater sense of confidence allowed McLamb to open herself up to co-writing. Before Going Through It, McLamb had never played with a band. Now seasoned by the road, she began thinking about how songs would work live as she wrote. In the spring of 2025, she met up with an all-star crew of musicians at Drop of Sun Studios in Asheville, including Tudzin and Blizard, bassist Ryan Ficano, keyboardist Sarah Goldstone, and Death Cab For Cutie drummer Jason McGerr.
The phrase “good story” can be loaded and malleable. A “good story,” as McLamb asserts, is often about a horrible tragedy. A “good story” is something that can be weaponized by governments or media. Eventually, it became the meta title perfect for this body of work, in which McLamb continued to pull from chapters of her life while dissecting her drive to write. Accordingly, there is a degree of observational distance this time around, with few songs dropped directly into the moment they’re depicting. “This whole record, it was like I was transient, flicking through the rolodex of my own memories and how they were organized and why they were organized that way,” McLamb says. Though the entire premise of Good Story can be heady, McLamb writes with such an incisive eye, unvarnished honesty, and self-effacing humor that the project is thematically rich without becoming academic.
For McLamb, Good Story’s thesis statement arrives in “Every Year,” when she sings: “My stories kept me safe but now I understand/ A story is a lifeboat and sometimes there is land.” By zooming out, McLamb spends Good Story turning experiences over into new lights. The earworm chorus of “Like The Boys” looks back on wild teenage years as an attempt to gain agency and control. Other songs close chapters and say goodbye to eras too. “California” is a more sentimental farewell to McLamb’s erstwhile home (it actually predates the more spiteful 2024 single “God Take Me Out Of LA”) that swoons with an arrangement that sits at the intersection of ‘90s pop- and alt-rock.
Elsewhere, “Suffering” is a wry, self-effacing track about one’s tendency to hold their wounds close. It begins with a feint, a baroque piano intro over which McLamb slyly repurposes people’s perceptions of her from the Going Through It era — she goes from a “poor maudlin child” to singing about getting off on suffering over giant, scuzzy guitars. By the end of the album, McLamb also finds empowerment in it all. “I complain but I love the cage,” she sings in closer “Getting Free.” “I love getting free just because I can.”
“I’ve made so many choices in my life that were ill-advised,” McLamb says. “But one of my favorite things about myself is my courage to leave a situation for something that’s more aligned.” McLamb could’ve taken the “easy” route of rehashing Going Through It for years to come. Instead, Good Story transposes its predecessor’s memoirist approach to a series of multifaceted vignettes. There is no prescribed evolution or end destination, but snapshots of an artist in motion, writing a record about storytelling itself. “It’s an investigation into what a story actually does for me,” McLamb concludes. “The point is that not everything fits into a narrative.” This time around, that’s where McLamb leaves it. These are moments collected, without looking for the big release, the big revelation. This time, the poignance comes in that acceptance, in Good Story saying that, for now: That’s OK. That’s enough.
READ MORE >>Supporting Acts
About the Venue
Upgrades: A limited amount of VIP seating upgrades (21+) are available for select shows. Contact the box office to purchase or check availability: boxoffice@hifiindy.com.
Ticket Support: Box Office opens 1 hour before published door time. For ticket related questions please email boxoffice@hifiindy.com.
Parking: Street Parking, Bike Parking
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