Queer friends and lovers of all stripes swayed to Lucy Dacus’ sentimental indie stylings on her second night at St. Paul’s Palace Theatre on Tuesday.

Dacus, who turned 30 on Friday, sold out her Monday and Tuesday shows in support of her latest studio album “Forever is a Feeling,” a layered testament to the messy tenderness of queer love.

Performing from an ornate, Rococo-esque art museum set befitting of the Palace’s antique architecture, Dacus played an arrangement of the album’s 13 tracks interspersed with fan favorites and deep cuts that kept the audience engaged for 90 minutes even after two opening acts.

Emerging with her band from smoky darkness to the screeching strings of “Calliope Prelude,” Dacus began with “Hot & Heavy” from her 2021 record “Home Video,” then transitioned into “Ankles” off of “Forever.”

Screens hanging above the stage lit up with renaissance paintings of dancing women, cherubs and orange trees, evoking the lushness of new love, or at least the scenarios surrounding it we create in our heads.

Moody, atmospheric lighting completed each song’s vignette and rounded out Dacus’ poetic and poignant storytelling.

Besides shredding during energetic throwback “First Time,” which is also off “Home Video,” Dacus’ stage presence was reserved and serene, gently circling the set and taking a seat during “Limerence.”

Halfway through the set, Dacus transitioned into an intimate seating arrangement complete with a faux-Victorian settee and a cup of Throat Coat tea (someone asked what it was on night one).

“Sometimes I forget y’all are here,” she chuckled in between grunts as she helped move the set pieces into place.

Minneapolis indie pop artist Samia, who sang Hozier’s part on the wistful “Bullseye,” slouched into the couch when she joined Dacus onstage, raving about its comfiness.

Dacus’ band sat in a circle in the art museum-turned-salon with starry night sky visuals above the stage during a special performance of 2016’s “Trust.”

The stars became fireflies during “Bullseye,” evoking the unrelenting march of time despite nostalgia for a past relationship.

Still, the flashy visuals and ornate set design didn’t outshine Dacus’ grounded and gracious personality.

“My life is awesome, and you’re a part of it, so thanks for being here,” she told the audience before closing the show with “Night Shift.”

The opener to Dacus’ 2018 album “Historian,” “Night Shift” is an achingly angry ode to a toxic ex-lover, and seeing it live is a rite of passage for any indie rock fan.

It was only right to scream my throat raw singing along to the refrain: “You’ve got a nine-to-five, so I’ll take the night shift / And I’ll never see you again if I can help it.”

I cried my eyes out singing along to multiple songs, imagining I was singing them to my queer loved ones. I’m sure I wasn’t the only one.

The spirit of queer love was tangible throughout the night. Budding British indie artist jasmine.4.t opened the show with crooning love letters to friends, her trans lover and herself, a trans woman.

Katie Gavin played a set of songs from her debut solo album “What a Relief,” which evokes the country and folk sentiments of lesbian rock star Melissa Etheridge.

“I just feel like I have to say this: I love gay people!” Gavin said to raucous cheers.