Love Spells Makes Love the Law @ Kilby Court 10.6.2026

Love Spells — the musical alias of 22-year-old Sir Taegen C’aion Harris — has carved out a lane entirely his own, crafting a sound that boldly defies single-genre boxes. While dream pop or indie pop could serve as easy starting points, the Houston, Texas native refuses to be pinned down to any one era or aesthetic. 

There’s a smooth, effortless cool to Harris that brings a vintage element to his persona. Close your eyes and the sounds can arguably shift across decades, blending rich storytelling of the ’70s, the classic rock energy of the ’80s, the indie grunge grit of the ’90s and a polished flair of modern-day sound. He channels the fashion sense of Bruce Springsteen or Bauhaus’ Daniel Ash, complemented by the dance energy of Prince. Love Spells embodies a newly reimagined essence of creativity that holds true to its identity.

Off-stage, Harris’ music rotation consists of Timbaland’s Shock Value album and their 2000s radio hit “Give It to Me” on heavy repeat. He also shares that Prince and Maxwell have a notable effect on him, acknowledging them as top-tier performers.

His debut album, LOVE IS THE LAW, stands as ultimate proof of his signature flair and musical talent. The record delivers the exact kind of lush, calming euphoria listeners didn’t know they needed. Tracks move so effortlessly, with one song flowing into the next like a stream of water. The album blossoms with themes of devotion, attraction and undeniable emotion. It sits comfortably in the sweet spot between nostalgia and novelty. It’s gentle enough to unfurl to, and captivating enough to listen to on repeat. It’s arguably a no-skip album that raises the question: How do these intimate studio songs translate to a room full of living, breathing fans?

Salt Lake City got its answer at Kilby Court, a legendary and intimate stop on Harris’s extensive North American tour. The iconic, tight-knit venue provided an optimal canvas stripped of physical distance, allowing Love Spells to make the most of the venue’s proximity. Fans experienced more than just an on-stage performance. Harris took time for genuine, personalized conversations before and after the set. His transparent warmth and kindness set a memorable tone for the special night.

Connecting with the audience is undeniably Love Spells’ strong suit. He showed aspects of his personality that made it easy to blur the line between the performer and the crowd. Kilby Court willingly transformed into a space where love was truly the law. Fans sang along to songs like “Crutch,” “Keep It to Yourself,” and “I Wish I Didn’t Love You.” Backing him up, band members Kace, Lazer Cohen, and Oliver Cooper set the mood with rich dimensions, elevating Harris’s signature falsetto in a vivacious fashion.

Describing his live set in three words — fun, interactive and flamboyant — Harris encourages unapologetic movement and collective expression. It’s clear that he loves dance and even rents out studios to release his dance moves. Love Spells thrives in intimate venues, especially if he has the space to hit his signature splits.

Ultimately, the performance landed powerfully because of its pure sincerity. Love as a theme can sometimes veer into common cliché, but every interaction was grounded, intentional and honestly felt. Love Spells made the album’s emotional core vibrantly come to life. The audience didn’t watch the show; they were living candidly through it.

Harris doesn’t just perform songs about love; he constructs an atmosphere where fans feel seen and unified. If love is the law, Kilby Court is where it fully embodied the notion, proving Love Spells surpasses a niche genre and flourishes into a movement in its own, unforgettable right. –Maya Dawn

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