Filtering by Category: Gigs
PHOTOS: The Wild Hearts Tour at Salt Shed
This past week, The Salt Shed hosted yet another stellar evening, welcoming The Wild Hearts Tour—which featured the incredibly stacked line up of Julien Baker, Sharon Van Etten, Angel Olsen and support from Quinn Christopherson. If you missed out on the sold out show, see the full photo gallery below, and see where you can catch the tour next here.
Live Recap: Fleet Foxes and Uwade at Salt Shed
Fleet Foxes and Uwade performed to a huge crowd this past Wednesday night during the Salt Shed’s inaugural week.
The show was part of Salt Shed’s “Outside the Shed” series— a string of outdoor shows taking place around the venue while the indoor space continues to be revamped. The forecast had been calling for potential thunderstorms all evening, but the musical and weather gods blessed us with a clear forecast aside from a few sprinkles of rain here and there.
Uwade kicked off the evening with a solo support set, warming up the crowd with her stunning songwriting and friendly banter. Her show opened up with her song “Nostalgia,” which the singer shared was the first song she wrote. Uwade also introduced her next song “The Man Who Sees Tomorrow” by dedicating it to her father and sharing an anecdote about him and the creation of the song. Uwade also performed her newest single “Do You See The Light Around Me?,” which was released this year by Sylvan Esso’s record label Psychic Hotline.
The crowd attentively basked in the beauty of Uwade’s original music, and fortunately her set wasn’t the only time we saw her that evening— she returned to the stage at the start of Fleet Foxe’s set to perform “Wading In Waist-Hight Water” with the band. The track from 2020’s Shore features the collaboration between the singer and Fleet Foxes, so it was incredible to hear the song brought to life as the opening tune of their show.
Fleet Foxes’ set took place as the sun began to set, casting a hazy glow on the city’s skyline while the band provided the perfect soundtrack. Fleet Foxes’ frontman Robin Pecknold took the opportunity to share his appreciation for the evening several times throughout the night, but in the very beginning of the show, he told the audience how great it was to be at the venue for the opening week and called out that the weather cooperating.
Pecknold also engaged the crowd in banter between songs, asking “did everyone get a free popsicle?” in reference to the giveaway from Salt Shed, in partnership with Pretty Cool Ice Cream. While the set weaved through fan favorites like “Can I Believe You,” “White Winter Hymnal,” and “Third of May / Ōdaigahara,” Fleet Foxes also incorporated a few covers into the mix, including “Phoenix” by Big Red Machine and “The Kiss” by Judee Sill. Before playing the latter, Pecknold performed the song “If You Need To, Keep Time on Me” on acoustic guitar, accompanied only by Casey Westcott on piano while the rest of the band took a breather. The quieter moment provided juxtaposition against the full band that played for most of the show and included everything from trumpets, trombones and tambourines alongside the more traditional guitar, bass and piano.
The Chicago audience sadly missed out on the performance of Rage Against The Machine’s “Killing in the Name,” which a fan in the front had requested after seeing them cover it earlier this tour. Pecknold joked with the audience that they couldn’t perform the song because Christian [Wargo]’s mom was in attendance that night.
The evening wrapped up with an encore that once again featured the vocals of Uwade, providing a full circle moment to a wonderful night.
See photos of the show below, and see where you can catch Fleet Foxes on tour next here.
PHOTOS: MUNA and Meet Me at the Altar at Thalia Hall
Last week, MUNA performed to a sold out Thalia Hall for a Lollapalooza after show, also featuring Meet Me at the Altar. See the photo recap of the evening below, and see where you can catch MUNA next here.
Live Recap: The Wombats and Last Dinosaurs at House of Blues
Lollapalooza week kicked off with some pre-fest after shows, including The Wombats and Last Dinosaurs on Tuesday, July 26th at the House of Blues.
Last Dinosaurs is an Australian rock band, consisting of Sean Caskey, Lachlan Caskey, Michael Sloane, and Dan Koyama. The band warmed up the crowd for The Wombats, joking that it was fitting because “The Wombats are near and dear as an Australian animal.” Throughout their set, I noticed many fans throughout the venue singing along to songs like “Zoom,” “Apollo,” and “Italo Disco,” which the band introduced by saying “If you have any Italian descent, this one goes out to you.” Last Dinosaurs has a new album coming out November 4th called From Mexico With Love, which you can preorder here.
Next up, The Wombats took the stage to a very packed venue of fans ready to dance and sing along to their entire set. The trio consisting of Matthew “Murph” Murphy, Tord Øverland Knudsen, and Dan Haggis had toured earlier this year in support of their fifth studio album Fix Yourself, Not the World, so it was fitting that their show kicked off with two newer songs from that record— “Flip Me Upside Down” and “This Car Drives All by Itself.” From the get-go, Murph and Knudsen unleashed their infectious energy, bouncing around the stage as they played. Before transitioning to a throwback track “Moving To New York,” Murph told the crowd that he “wished this song was about Chicago,” but nevertheless, the Chicagoans still went wild for the song, making the House of Blues floor literally shake from all their jumping.
The set continued to weave through The Wombats’ expansive catalog, including a few songs from 2015’s Glitterbug. As a preface for “Pink Lemonade,” Murph said “I sing a lot about fruits… lemons… this song is the first one about a lemon tonight. The pink lemon.” The other lemony song is of course “Lemon to a Knife Fight,” which comes from 2018’s Beautiful People Will Ruin Your Life. The band’s good humor came through several other times during the show— about half way through, they broke out into an impromptu muzak tangent, which got a loud reaction to the crowd. “That’s very kind of you, you did not need to applaud for that,” the band replied.
The evening truly felt like a much-needed escape from everything going on in the outside world, and Murph further facilitated that release by asking the crowd to raise their hands and give him an “end of the world scream” before the performance of “Tokyo (Vampires and Wolves)” from The Modern Glitch.
The Wombats played their hit “Greek Tragedy” as their “pretend last song” before returning for a 3-song encore that pulled from songs old and new. During the official last song “Turn,” even people in the way back of the venue were dancing with massive smiles on their face. I’ve said it before and I’ll say it again— it’s literally impossible to be sad at a Wombats show.
See photos of the evening below, and see where you can catch The Wombats on the road next here.
Live Recap: Pitchfork Festival 2022 Day 3
The third day of Pitchfork Festival took place on Sunday, July 17th, with breezy and cloudy weather conditions to go along with all the chill vibes.
I began my day catching a set from Taja Cheek, AKA L’Rain, and the beginning of her set featured a calming reset for all fest goers. Cheek asked everyone in the audience to take a deep breath and close their eyes, saying, “this is the only time in the history of the world that all us will be together in this space.” It was the perfect reminder to be more present with current experiences, and felt like the Calm app IRL. For the remainder of the set, Cheek’s silky smooth vocals and chill energy kept the vibes going.
Next up, Chicago’s own Kaina took the Green Stage and continued the breezy tones. “I’m from Chicago and this is my first time playing Pitchfork. I’m so emotional to be here,” Kaina told the audience. L’Rain’s set earlier had featured a saxophonist in the band, lending a soulful touch to her music— and the saxophone trend only continued with Kaina’s show. Her band features fellow Chicagoan and multi-instrumentalist Sen Morimoto, who played the sax during Kaina’s Pitchfork debut. The show featured some of Kaina’s newer music from the 2022 album It Was a Home, as well as a few from her 2019 album Next to The Sun. Kaina didn’t let her set end without giving props to her bandmates— “Pitchfork, please give it up for the band, these are my best friends,” she said.
Sunday was the day of the festival where I was least familiar with the artists on the lineup, so it was my day of discovery. One act that I experienced blindly was Sofia Kourtesis. Kourtesis is originally from Lima, Peru, but based in Berlin, Germany and her music captures a perfect blend of her hometown and current base by blending EDM sounds with Lantinx flare. Her set was at 2:45 PM but it felt like we are all in a nightclub in Berlin with the amount of bass and beat building she did in her performance. The crowd was very into her performance, and Kourtesis returned the enthusiasm by saying “We had a very hard time coming here, but to see your faces makes it worth it.”
Next up, I caught a few minutes of Injury Reserve on the Red Stage, and it was another first-time discovery for me. The hip hop group from Tempe, AZ is composed of Ritchie with a T and Parker Corey, and the duo performed their set on a hazy, fog-filled stage.
BADBADNOTGOOD unfortunately had to drop off from the Sunday lineup due to illness, but we got to experience Natural Information Society in their place. I saw the ensemble recently open up for Kurt Vile at Thalia Hall, but they switched it up at Pitchfork Festival by playing one long piece for the entirety of their set. The band set up included brass instruments, woodwinds, and of course— a saxophonist! Sunday’s line up was essentially “more saxophone!” instead of “more cowbell!”
Noname was up next back at the Red Stage, delivering another dose of hometown pride to the festival ground. Noname has played that same stage at Pitchfork Festival before, but this was definitely the most packed I’ve seen the audience. Fans were loudly screaming her lyrics back at her, and it was obvious Noname was very appreciative of the support. Her set also had a guest appearance from rapper The Mind.
After almost a full day of no rain, the clouds eventually opened up and we got a brief shower of downpour that had some fans scattering towards trees and the record fair tents for cover. The rain also caused a short delay for the next sets from Earl Sweatshirt and Tirzah, who played at the Green and Blue Stages respectively. Lots of fans stuck it out and rejoiced when Earl Sweatshirt and his DJ finally took the stage. Earl Sweatshirt kept the chill vibes going, telling the crowd he came out in flip flips. Despite being laidback, he did try to rile up an empty spot in the crowd, but realized there was a huge mud pit that prevented everyone from packing into that section.
Toro y Moi closed out the Red Stage with some funky, electronic-based grooves. The set started out kind of slowed and subdued, but continued to pick up to a point where the whole crowd was dancing along. Setlist highlights included “The Difference” and “Ordinary Pleasure.”
The Blue Stage wrapped up for the entire weekend with a delightful set from Cate Le Bon. Le Bon put on a very polished and serene performance, which included songs like “Pompeii,” the title track of her latest album, and fan favorite “Moderation.” Her band also included a (you guessed it) saxophonist, bringing the daily sax count up yet again.
The Roots closed out the entirety of Pitchfork Fest 2022 with a bang, bringing their feel-good tunes to the Sunday evening audience. Their set was a non-stop medley of dance-inducing grooves— from the performance of “Jungle Boogie” at the start of the set to “Move On Up” at the end, they kept the hits coming. Their set also featured a guest appearance from Hannibal Buress, who had done a DJ set in the new Zelle tent earlier in the weekend.
See the full photo recap of Sunday below, and make sure to revisit the day 1 and day 2 recaps.
Live Recap: 80/35 Festival
Back after a two-year pandemic-induced hiatus, Greater Des Moines Music Coalition’s annual 80/35 Festival (named for interstates I-80 and I-35) returned to Western Gateway Park in “downtown-ish” (as one festival tee-shirt put it) Des Moines for two days on Friday, July 8th and Saturday July 9th. The festival, which includes numerous free stages for local and smaller acts sponsored as well as a larger ticketed headliner stage sponsored by Hy-Vee, is a non-profit festival which is 100% volunteer run committed to strengthening the live music scene in greater Des Moines.
The diverse line-up began on Friday afternoon with Guided by Voices taking the Hy-Vee stage first and getting the sun-drenched crowd roaring to life which powered through the hour set. The stage, with a viewing area split down the middle between general and VIP admission sections, filled up as GBV presented “21 of their over 1,600” songs, as Robert Pollard pointed out between numbers. Next up was Japanese Breakfast, who thundered onto the stage with a gong which prominently features on their Jubilee track “Paprika.” The tempo continued with the energetic “Be Sweet” and the summer dreamy and breezy “Kokomo, IN” rounding out the first three tracks on the LP before bringing in earlier favorites from the discography all performed while bathed in the hues of a gorgeous Iowa golden hour.
As evening turned to night, Father John Misty took the stage with his band for one of their first North American tour dates in support of the new album, Chloe and the Next 20th Century. Several songs from the new “obsolete Jazz” album (Tillman’s own words) were played along with favorites across the catalogue by Tillman’s 12-member band which sprawled out comfortably across the stage. Tillman and company seemed confident with the new material and in wonderful spirits with a buoyant energy that never eased up across the 19 tracks presented, closing out the night with a spectacular rendition of “I Love You, Honeybear,” which saw Josh Tillman maneuvering his way into and throughout the crowd.
Saturday, which started earlier (and hotter) than Friday, featured a full schedule of local and touring bands stretched across several city blocks that surrounded the main grounds. Among the street vendors, beer tents and food trucks that scattered the avenues, the sounds from the un-ticketed acts served as breadcrumbs to festival gems with not only the sounds of their music but also that of audience reactions. These tempting echoes, cascading down streets, between buildings and around blocks, worked to pull in and reward those that decided to venture away from the main stage and ticketed grounds. There, discoveries abounded, such as the post-punk Brooklyn-based quintet Geese and the Sydney and Melbourne-based dance pop group, Haiku Hands, which both commanded the attention of those present at the Kum & Go stage. Several blocks away, at the Local 5 Emerging Artist stage, Kelsie James (singer songwriter from Des Moines) pulled in an amble crowd of admirers with her tender and sturdy songwriting under the late-afternoon sun.
Back on the Hy-Vee Main Stage, 80/35 favorites Envy Corps fired up the afternoon crowd for the Chicago-based Jamila Woods who laid down several tracks from 2017’s HEAVN and 2019’s LEGACY! LEGACY!—including some unreleased music that set perfectly against the sunny, crisp summer afternoon. Following Woods came the bombastic and unstoppable Future Islands which saw Samuel Herring thundering across and on top of the stage in his usual exuberant, characteristic way, as they performed songs from latest LP As Long As You Are which is accepted gladly by a firecracker audience whose feet were often grass as often as their hands were in the air. Topping off the night and entire festival was headliner Charli XCX, bringing 21 songs from across the discography to an excited and buzzing main stage with every demographic of festival goer represented, including plenty of wide-eyed children starstruck watching from their parents’ shoulders, concluding a weekend that they will likely long remember and the greater Des Moines area’s return to live summer festivals.
Live Recap: Pitchfork Festival 2022 Day 2
The second day of this year’s Pitchfork Festival kicked off on Saturday, July 16th. The rainy weather had cleared up, leaving behind a muddy Union Park for the fest’s second day.
When I arrived to the park on Saturday, I immediately noticed that larger crowds had come out for the fest that day—everything from the size of the crowd to the merch lines were larger.
I began my day catching a set from The Linda Lindas on the Green Stage, which was the original slot for Chubby and The Gang before they had to cancel their appearance here. I was sad to miss Chubby, but if anyone was going to fill in, I’d want it to be The Linda Lindas. The group composed of Bela Salazar, Eloise Wong, Lucia de la Garza, and Mila de la Garza has been garnering a huge fan base for their refreshing reboot of Riot Grrrl influences. While playing their set, the band members would often dance over to each other, demonstrating an incredible sense of chemistry and stage presence to go along with their great sound. Their setlist included songs from their album Growing Up, in addition to the track “Monica” from their self-titled EP—which Salazar dedicated to her cat named Monica. The group ended their set with a cover of Bikini Kill’s “Rebel Girl.”
Next up, The Armed began over on the Blue Stage, and this was absolutely the most bonkers, rowdiest show I think I’ve ever seen at Pitchfork. I absolutely loved it. The band is mysterious in the way that they’re a collective hardcore group with rotating, anonymous members, and their performance at Pitchfork included some of the members wearing costumes or face paint. With so many members in the rotation, they all took turns leading the vocals on the microphone, and they often joined fans out in the mosh pit. I’m looking forward to hopefully seeing The Armed back at Pitchfork another year on a bigger stage so they can expand upon their wild spectacle.
Hyd, the stage name of singer and performer Hayden Dunham, took the Red Stage next for a show that was a 180 from The Armed, but spectacular in its own way. Hyd entered the stage on her own, in a dramatic fashion, using movement to accentuate her music. “I have a few songs for you,” she told the audience before performing her single “The Look On Your Face.” If you’re a fan of Caroline Polachek, you should listen to Hyd not only because the two have collaborated together, but because they produce a similar style of music and stage presence. Hyd had a flowery, hazy vibe about her and she glided across the stage through choreographed movement.
Saturday was all about the theatrical choreography because next up, Yeule brought similar vibes back on the Blue Stage. Yeule is the alias for vocalist, songwriter and producer Nat Ćmiel from Singapore. Fans flocked to see Yeule perform, and she did not disappoint and she fluidly moved along to her glitch-pop tracks. As she performed songs from her 2022 album Glitch Princess, Yeule’s stage persona was amplified by her costume and dramatic make up that balanced the delicacy of her ethereal vocals.
Next up, Dry Cleaning brought their effortlessly cool vibes to the Green Stage, performing their mix of experimental rock, spoken word and post punk. For their second song, they brought out a guest saxophone player, and the sax guest seemed to be the theme of the weekend as it kept popping up in different sets. Dry Cleaning mostly performed songs from their 2021 album New Long Leg, but they also included their new single “Don’t Press Me.”
The duo of Mica Tenenbaum and Matthew Lewin, aka Magdalena Bay, brought their synth pop over to the Red Stage. The pair came onstage in coordinated outfits, with Tenenbaum sporting a microphone headset similar to those that Britney Spears and other 90s pop divas wore. I saw Magdalena Bay perform at Lincoln Hall earlier this year and was struck by how intense their fanbase was, and that same energy was present amongst the crowd at their Pitchfork performance. Tenenbaum danced and swirled across the stage during their entire set, as she and the band performed songs from their album Mercurial World.
The night wrapped up with a trio of Indie Darlings, the first being Lucy Dacus over on the Green Stage. Dacus took the stage wearing a brightly-colored outfit featuring rainbow and cloud details, and her fans were some of the most vocal of the entire festival. I could hardly hear Dacus over the sounds of fans shouting along the lyrics to songs like “Hot & Heavy” and “Night Shift.” The last time I had seen Lucy Dacus, she had performed at Thalia Hall, laying on a couch the entire time because of herniated discs, so it was wonderful to see her return to performing in full form. Towards the end of her set, Dacus even treated the festival audience to a cover of the iconic “Believe” by Cher, which was the first time she’s performed this cover live.
Japanese Breakfast closed out the Red Stage for Saturday night, a level up from the last time the band had performed at Pitchfork over on the Blue Stage. Michelle Zauner brought along a stage full of musicians in addition to her regular bandmates, adding depth to her songs with string musicians and a saxophone. The set opened with Zauner banging a gong during “Parprika,” while the rest of the set had her rotating between playing guitar or dancing around the span of the stage. Towards the end of the show, Jeff Tweedy joined Japanese Breakfast as a guest vocalist, singing “Kokomo, IN” from the album Jubilee. The band and Tweedy also performed a cover of Wilco’s “Jesus, Etc…” and Zauner thanked Tweedy by saying “Jeff tweedy is my favorite songwriter of all time.”
The second day of the festival concluded with Mitski, who was welcomed onstage with overwhelming applause. Mitski sauntered onstage to moody lighting framing her graceful movement. Mitski put out her sixth album Laurel Hell earlier this year, and her set featured some of those songs like “Working for the Knife” and “The Only Heartbreaker,” but she also sprinkled in tunes from earlier albums like 2018’s Be the Cowboy and Puberty 2. Mitski’s stage presence was the perfect way to end the theatrical tone of the second day at Pitchfork.
See the full photo recap below, and stay tuned for coverage of the third day of the festival.
Live Recap: Pitchfork Festival 2022 Day 1
Pitchfork Music Festival kicked off Friday, July 15th in Union Park, returning to its usual timeslot after a move to September in 2021.
The forecast for Friday predicted rain and cloudy conditions all day, but fortunately no immediate threat of lightning or thunder delays– so the show continued on! Festival-goers donned ponchos and rain boots and rallied to make it through the weather.
ANCHR kicked the day off with singer-songwriter Ethel Cain on the Red Stage, whose moody and mellow music made the perfect soundtrack for the gloomy skies. Cain’s production and stage presence were both very minimal and stripped back, but she still captivated the early crowd with her hypnotizing vocals. As her set continued on, the pace picked up and the set ended with the single “Crush.”
Next up, Spirit of the Beehive took the Green Stage as the audience got a temporary pause from the rain. The band members Zack Schwartz, Rivka Ravede, and Corey Wichlin took the stage to a sweeping soundscape of samples that lended a cinematic quality to their introduction. Their set heavily featured songs from their 2021 album Entertainment, Death, and the band members all played multiple instruments to be able to create the depth and dynamics of their songs.
Houston rapper Monaleo kicked off the music for the Blue Stage next, replacing Tkay Maidza’s spot, who unfortunately had to cancel due to Visa issues. Despite the last minute change, fans still flocked to see Monaleo, who even got a little emotional at the show of support from the crowd. “I had a tough week, but feeling this energy has really shifted my mood,” she told the crowd. Everyone loved her energy, especially during the performance of her single "Beating Down Yo Block,” which went viral on TikTok.
At this point in the afternoon, light rain turned to full on downpour right as Spelling took the Blue Stage around 4PM. Fans still persevered to see her set, but I unfortunately only saw a few minutes of it. Spelling is the musical alias of Tia Cabral, and I had really been looking forward to her performance of her experimental pop tunes. The few minutes I did catch were full of magnetizing energy, and she had a great stage set up featuring back up singers and dancers.
Another set I had been highly anticipating on Friday was Indigo De Souza, but I spent all of her set taking shelter from the downpour, so I unfortunately don’t have any photos from her performance. On the bright side, I did get to hear most of her set and she sounded stunning.
The rain started to slow down, so I trekked back to the Blue Stage for another one of my highly-anticipated bands— Camp Cope. The Australian trio composed of Georgia "Georgia Maq" McDonald, Kelly-Dawn Hellmrich, and Sarah "Thomo" Thompson are self-described “power emo” (according to their Instagram bio), and honestly that description is pretty fitting to their sound. Georgia sings with such a powerful sense of conviction and performs with such an emotive energy, and the front row at Pitchfork Fest matched the band’s enthusiasm by eagerly echoing the lyrics back to them. Some highlights of their setlist included “Running with the Hurricane,” which is the title track from their latest album and a deeper cut called “How to Socialise and Make Friends.”
Camp Cope played at the same time as Tierra Whack, so I unfortunately missed most of Tierra’s set, but I heard that she brought a fan from the front of the crowd onstage to rap with her—which I’m sure made that fan’s entire festival experience.
The rain continued to be touch and go the rest of the evening, but we hit another clear patch just in time for Parquet Courts back at the Green Stage. The New York band has played Pitchfork Festival a few times, and they always draw a big crowd to dance and mosh along with their set. This year’s set from Parquet Courts included some new music, like the 2022 single “Plant Life.”
At the same time, Dawn Richard took the Blue Stage, and brought all the pizazz and persona to the audience, performing in a beautiful, sparkly outfit that coordinated to her backing dancers. Her set featured a rearranged cover of “Don’t Speak” by No Doubt, which the audience loved.
While Spiritualized closed things down on the Red Stage, Amber Mark brought her soulful pop to the Blue Stage to close it down for the night. Amber Mark glided around the stage, performing songs from her debut record Three Dimensions Deep and the crowd intently appreciated the performance.
Finally, the time came for the evening’s headliners The National to perform, and they had the perfect conditions for it. The sky had cleared up, and a subtle breeze passed through Union Park as the largest crowd of the day gathered for the final act. The lead singer of The National Matt Berninger told the audience “we’ve missed you” before the band began the show with “Don't Swallow the Cap” from their 2013 album Trouble Will Find Me. Throughout the day, I witnessed many fans excitedly watching artists they admire perform songs that they love, but nothing compared to the admiration I witnessed from the audience during The National’s set. The same appreciation echoed back from the band too, as Berninger told the crowd “It’s so good to be back here. We missed this park, it’s such a cool vibe” before they performed “Light Years.” The majority of The National’s show ventured through their discography, pulling in songs from albums like High Violet and Sleep Well Beast, in addition to performing new songs like “Tropic Morning News,” which Berninger introduced as one they’ve been trying out. Before the show wrapped up, Berninger left his post on stage and ventured out into the audience to sing along next to the fans, reiterating the strong bond between the band’s fanbase and himself.
See the full photo recap of Day 1 below, and stay tuned for coverage of the rest of the fest all weekend!
Live Recap: Third Eye Blind with Taking Back Sunday
ANCHR kicked off the weekend with a nostalgia-packed night at Northerly Island for Taking Back Sunday and Third Eye Blind. As I walked into the pavilion at the start of the evening, I saw a good ratio of fans sporting shirts for each band, signifying we had a blend of both fan bases in the house.
After an opening set from Australia’s Hockey Dad, Taking Back Sunday took the stage just as the sun began to set. They launched into their show with the song “Tidal Wave,” which is the title track of their 2016 album. From there, their setlist featured a good mix of the band’s discography, but it heavily featured many of their older cuts, which personally made me reminisce about my high school days. Particularly when they played songs like “MakeDamnSure” and “Cute Without the 'E' (Cut From the Team)”— which were staples in my rotation back in those days. Between songs, lead singer Adam Lazzara commented about the beautiful setting of the show, saying, “This is fantastic. It’s beautiful. There’s a nice breeze. All you beautiful people are here.” It really was the perfect breeze coming off the lake that night, and members of the audience all shared a sense of camaraderie and excitement. In addition to the throwbacks, the band performed their newest single “Just Us Two,” which they just dropped last month with Steve Aoki.
Next up, the stage got set for headliners Third Eye Blind. Their set up included risers with instruments and mic stands set up on the different levels, which the band used to shuffle around the stage during their set. The tour was in honor of the band’s 25th anniversary from their self-titled debut record.
The music began with a blend of old and new, with the beginning of the set featuring “Thanks a Lot” from their debut as well as “Dust Storm” from their 2021 record. The rest of the night journeyed through their expansive catalog, while heavily highlighting the songs from Third Eye Blind. The good vibes between the audience members continued to radiate and were highly encouraged by frontman Stephan Jenkins. He asked the crowd to acquaint themselves with the people next to them, saying, “Everyone from the front to the back, turn around and tell someone you don’t know that you’re glad they’re here.”
Jenkins continued to encourage friendly vibes amongst audience members before they played the song “Shipboard Cook,” which Jenkins introduced as a song he wrote to “be sung by drunk people in a pub. It’s a song for someone who got dumped and is being consoled by loving friends.” Towards the bottom half of the show from Third Eye Blind, fans were also treated to a solo acoustic performance of “The Background” by Jenkins, as well as a cover of “Funeral Singers” by Califone from the whole band.
Before the concert came to a close, we of course also heard the massive hits “Jumper,” “Semi-Charmed Life,” and “How’s It Going to Be.” The audience was full of long-time fans excited to be reunited with their favorite artist, alongside new fans or people getting to experience Third Eye Blind for the first time. It was great to see a mix of generations across the venue, and the gratitude from the crowd was also shared by Jenkins in the band. Jenkins made sure to vocalize that appreciation by saying, “Do you all have any idea how much we’ve been looking forward to tonight? We don’t take any of this for granted.”
There’s something really special about seeing songs that are ten, twenty years old and still hold up. I love seeing new bands, but being able to experience a whole venue full of people singing songs you grew up with is something even more spectacular.
Check out photos of the evening below, and see where you can catch Third Eye Blind on the rest of their tour here.
