Amsterdam, Netherlands — Some listeners may remember Simone White from “The Beep Beep Song,” which appeared in a European television commercial for the Audi R8 in the late 2000s. Since then, White has built a diverse discography that moves between intimate acoustic songwriting and more experimental, electronic-tinged indie. Now, after a long absence from European stages, she returns for an intimate show in Amsterdam.
As the audience slowly filtered into the venue, soft music played in the background and people spoke quietly among themselves. The stage was low and simple, framed by an array of plants. The calm, intimate atmosphere set the tone for the night, with everyone settling in and finding their seats.
Before White took the stage, the audience was treated to a set by Daniel Benyamin.
But rather than the usual format of opening act first and headliner later, the evening was more of a blended show, with Benyamin and White alternating on several songs. When Daniel Benyamin stepped onto the stage, the casual murmurs faded, replaced by attentive, respectful silence.The Germany-born multi-instrumentalist may not be widely known, but he has toured with major artists such as José González, Whitney Houston, and Sufjan Stevens, and has contributed to the soundtracks of several major films. Despite these accomplishments, he remains very much true to his own musical voice. Tonight’s set was mostly stripped back, with Benyamin accompanying himself primarily on electric guitar. Both new material and older work made an appearance, including “Should I Care” from his former project Sea+Air and “Murder On The Moon” (2020) from the album Solitarity.
As Daniel Benyamin’s set ended, Simone White took the stage, and there seemed to be a subtle shift in energy—not dramatic, but enough to draw the focus. Her presence seemed to calm yet engage the room at the same time. She opened her set with an acoustic version of her latest single, “Semaphores,” released in 2025. Moving seamlessly between newer songs, older favorites, and the unreleased track “Devil,” she guided the audience through a quiet, introspective journey. With her acoustic guitar in hand, she created a delicate, intimate atmosphere, and the room seemed to listen in almost breathless attention.
After “Roses Are Not Red,” there was a short break during which attendees could pick up some albums or chat briefly with the artists.
After the short break, the atmosphere in the room seemed to loosen up slightly. Daniel Benyamin returned to the stage for his second set. Among other songs, he played “Lights Go Out Tonight” from his album Eral Fun, using a cassette tape to give the song a bit more body. He also performed “Holding Hands,” the first single from his upcoming album Life After Music, which will officially be released on May 15.
As Benyamin jokingly told the audience, however, the album was already available on the “black market,” meaning it could already be purchased at the merch table in the venue.The new record, he explained, carries a message about the future and the role of technology, touching on the idea that AI will not be able to take over the world as long as people continue to support one another—by doing simple things like buying bread from a local baker or coming to evenings like this one: a real concert where people gather and share an experience together.
Something that stood out during the evening, and seemed to reflect that idea, was the relatively limited use of phones in the audience. Of course a few photos or short videos were taken, but for the most part people were simply listening.
The second set by Simone White also felt a little more relaxed. There was more room for storytelling and interaction with the audience. Several songs from her album Genuine Fake made an appearance, including “Big Dreams and the Headlines,” “Rain,” and “Harvest,” the latter standing out with its beautiful a cappella opening.
Compared to the earlier set, the setlist now seemed more like a suggestion than something fixed. White even asked the audience if there were any songs they would like to hear. Someone called out “Victoria Anne,” and she appeared pleasantly surprised. The audience was also treated to another new song, as well as “Bunny in a Bunnysuit.”
She closed the evening with “The Beep Beep Song,” and the audience was even treated to a Dutch version. As a Dutch listener, I have to say it was done surprisingly well, especially considering how difficult it must be for a non-native speaker.
In the end, the evening felt almost like a small cocoon against the noise of the outside world. Through their alternating sets, Daniel Benyamin and Simone White complemented each other beautifully, creating a night built on quiet attention and genuine human connection.
Daniel Benyamin
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Simone White
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Show date 13/03/2026
