Bassvictim brought the “White Flag Tour ’26” to Roadrunner on Oct. 26, with openers lightremoval and Thoom. The London duo, made up of vocalist and songwriter Maria Manow and producer Ike Clateman, is known for mixing indie-sleaze-era electronics. The tour shares its name with “White Flag,” the second single from their upcoming album “Peace + War,” a 19-song project set to release Nov. 6. With the record less than two weeks away at the time of the set’s performance, the Boston show doubled as a preview of the group’s next era.

The night began with lightremoval, who played a couple of songs and got the crowd hyped before the main acts. Most people in the room did not know who he was, but his sound was unique enough that the crowd was soon asking each other who was on stage. His dancing stood out just as much, adding a distinct personality to a set that might otherwise have gone unnoticed. By the end of his short time on stage, an unfamiliar name had turned into one people were curious about.

Thoom followed shortly after and her vibe matched the audience’s taste, shown through their loud cheers. The two backup dancers matched the energy of her tracks and her laser gloves added to the visuals of the set. The two openers moved quickly, which lifted the energy in the room before the headliner.

Although the show was scheduled to start at 8 p.m., Bassvictim did not take the stage until after 10 p.m., and the crowd made their thoughts about it known. Audience members began booing, and some were even considering leaving before she came out. People were on their phones, asking staff for water, and taking pictures while waiting for Manow and Clateman to walk onstage. The delay worked against the momentum the openers had built, which made her appearance more striking.

Once Manow walked out, spirits lifted and the booing quickly turned into screaming, almost as if they had been waiting for no time at all. Her entrance was bold and visually full of smoke. Her set drew on songs that anchored the tour, with crowd favorites like “Alice,” “Wooden girl,” and “27a Pitfield St.”

The venue’s smaller size shaped the night. With the crowd packed in close, the room felt intimate and there was very little distance between Manow and the people at the front of the crowd. The production was simple but effective: the staging stayed minimal, and nothing competed with them for attention. Instead, smoke kept pouring across the stage, hanging in the air and softening the lights so the whole room felt hazy. The setting matched the raw, electronic sound of the music, and it made the show feel closer and more personal than a bigger production would have.

The crowd’s strongest reactions came early. “Wooden girl” arrived near the start of her set and drew one of the most energetic responses of the night. The audience members were jumping around, pushing the crowd closer to the front. Placing a favorite track so high on the setlist changed the mood of the room, and the frustration of the long wait gave way to release almost immediately. Bassvictim gave the audience what they came for early on, and that goodwill carried the crowd through the rest of the set.

Later in the show, she played more of her popular songs, like “Dog Tag freestyle” and “Forever salty,” keeping the audience alive with their favorite tracks. In her last song, she brought the openers back on stage, dancing and matching the audience’s energy on the dance floor.

The energy built the longer she performed, and by the end of her set there were multiple mosh pits across the floor — the late start was forgotten once the crowd turned loose, and the room matched the unruly sound of the music itself.

In the end, the “White Flag Tour” in Boston was a test of patience that paid off. The long wait nearly cost Bassvictim part of the crowd, but the payoff showed why people stayed. With “Peace + War” arriving in days, the show made a strong case for the new album.

—Staff writer Leah Choi can be reached at [email protected].