Del Water Gap • Hannah Jadagu • February 9, 2026 • The Depot
Reviewed and Photographed by Austin Dayton
On a chilly February night in downtown Salt Lake City, indie-pop artist Del Water Gap, the stage name of S. Holden Jaffe, brought his Chasing the Chimera World Tour to The Depot. The sold-out show was a clear sign to Del Water Gap that Utah has been anxiously awaiting his return. As the crowd funneled into the iconic and historic brick facade, a palpable buzz filled the air. A mix of anticipation, excitement, and an overall sense of community suggested that the night would be filled with one of the best performances of the year.
Hannah Jadagu
The Night opened with an initially quiet and captivating set from Hannah Jadagu. An indie pop artist out of Texas whose understated presence set the emotional tone for the night. Backed by minimal but pronounced instrumentation, Jadagu’s songs unfolded with a dreamy restraint. Her vocals, soft and steady, floated above the strumming of her guitar lines. Creating a mood that immediately felt intimate without being too fragile. The crowd, still filtering in at the start, gradually settled into attentive stillness. Pausing in the middle of her set, Jadagu let the crowd know this wasn’t her first time in Salt Lake. And that it was a tour stop she had been looking forward to coming back to. By the end of her set, it was clear she had won the audience over. As an opener, she brought the crowd together, priming them for a great show to come.
Del Water Gap
When Del Water Gap emerged, his energy was immediate. The set began with “Small Town Joan of Arc.” Its pulse cutting through the venue and immediately grabbing the audience’s attention. From this very first song, it was clear that Del Water Gap sounded just as good live as they did on their recorded studio albums. Everything from the instruments to the vocals felt like you were at a live recording. Without pause, he moved into “Sorry I Am” and “Better Than I Know Myself.” The latter triggering one of the night’s first full audience sing-alongs.
The first act continued with “Please Follow” and “Dollhouse,” which shifted the room’s temperature. Under cooler lighting, “Dollhouse” leaned into its tension and repetition, emphasizing the emotional undercurrent that runs through much of Del Water Gap’s catalog. In a venue the size of The Depot, those quieter moments resonate strongly; proximity amplifies nuance.
This is where I take a moment to describe the elephant in the room. Upon walking into the depot, one’s eyes would be immediately drawn to one of the most unique but simple stage sets. This entire first act had been performed in a giant white sheet blanket fort. Picture the blanket forts you built as a child, and this was the stage. While never directly addressed, it felt like a very intentional nostalgic decision that aided in the nights over all feeling of relatability.
As Act II started, the momentum only increased. “New Personality” washed over the crowd with its restless charm, while “Ghost in the Uniform,” a rising song from their new album Chasing The Chimera, brought a reflective but playful look into situationships. Something that, judging from the cheers from the crowd, was a universally shared experience. “NFU” and “Marigolds” came next and sustained the audience before giving way to “Beach House.” It was one of the best moments of the evening. The groove settled in, the lighting warmed, and the audience swayed together, filling the venue with a blend of nostalgia and yearning.
As the show reached its midway point, Del Water Gap took a minute to share his appreciation for the Salt Lake City fans and commented on the beauty of their drive in. Jumping right back in to the music “High Tops” felt loose and thoughtful, this being one of the first songs that introduced people to him, singing is just as perfect as if hearing it in headphones in 2018. “Never Speak Again” hushed the room, its vulnerability amplified by the band’s careful and delicate assistance. The mood once again shifted ever so slightly as “East Side Girls” restored the audience’s buoyancy, drawing movement and another wave of sing-along energy.
Throughout the show, Del Water Gap leaned into introspection, and they stayed on theme as they set into the last part of their performance, Act III. “How to Live” and “Coping on Unemployment” resonated with a particularly strong impact, their themes of uncertainty and identity landing on an audience of young adults trying to figure out adult life. Bringing out another signature song, “All We Ever Do Is Talk” brought the audience to life, angst and longing lacing the voices that were singing along with the chorus.
The final stretch of music carried with it unmistakable momentum. “Damn” delivered bite and propulsion, while “Perfume” became one night’s loudest communal moment. Its chorus rang out as hundreds of voices came together in unison, underscoring just how deeply the song has embedded itself into people’s lives. Closing with “Ode to a Conversation Stuck in Your Throat” felt predictable in the best way. Dessert was served. This was what we had come for. The opening chords drew immediate cheers, and the audience sang every word till the last chord.
There was no encore, but everyone left happy; we had all gotten what we had come for. Reflecting back on the show, it was abundantly clear that there was something different about Del Water Gap and his music. Oftentimes, one can relate deeply with a single song from an artist, but it seemed like the entire show was written about personal yet common experiences, allowing a deep, deep sense of connection throughout the entire show.
The Depot proved to be an ideal setting for this stage of Del Water Gap’s ascent. Large enough to feel communal yet intimate enough to preserve a personal connection, the venue amplified both the aural and emotional aspects of the night.
Together with Hannah Jadagu’s measured opening and Del Water Gap’s expansive headlining set, the night will not soon be forgotten. If you have the chance to see Del Water Gap, do it!