September 28th, 2025. MARIS and Caroline Kingsbury perform at Brighton Music Hall in Boston
On September 28th, rising pop sensations and newly-born duo MARIS and Caroline Kingsbury brought their combined headline tour to Boston’s Brighton Music Hall. Fans lined the barricade wearing astral-themed makeup that had been done by MARIS and Kingsbury themselves just hours earlier during a VIP exclusive meet-and-greet. Audience members in the back alike donned spectacularly extravagant outfits and ecstatic expressions as everyone awaited the show’s beginning.
MARIS and Kingsbury’s North American Give Me A Tour was conceived following the viral success of their duet “Give Me A Sign.” Although both artists reside firmly in the pop genre, they have their own stunningly singular styles, vocally and lyrically. Give Me A Tour follows a unique, engaging format wherein the two artists perform both together and individually, one occasionally ceding the spotlight for the other. Each time one returns to the stage, they are greeted warmly by their joint fandom once again.
Following a few songs performed as a duo, Caroline Kingsbury’s first solo portion began. In kitten-covered tights and a neon leotard, Kingsbury rocked the mic with “Heaven’s Just A Flight,” “16,” and “Breaking Apart.” Kingsbury seemed to only go harder as the night went on, and the crowd surrendered to her every word and movement. Kingsbury’s ability to regain command of the stage each time she went on was incredibly fun to watch and is a testament not only to her abilities as a performer but also to her charisma and passion.
Throughout MARIS’s performances, her set included several costume changes, from an astronaut to a cosmic-themed showgirl. To the crowd’s excitement, she performed several viral hits, including “Super F*cking Mega Star” and “It’s Hard (to be a Man).” Like her touring partner, MARIS captivated the crowd with her silly, fun dance moves, audience interaction — including calling a fan’s grandmother on FaceTime and singing to her — and impressive vocal abilities, which she equally mastered in keeping the crowd’s attention and enthusiasm. At one point, she even parted the audience to stand on a bar table and perform a soft ballad while the crowd remained hushed in awe.
As the night drew to a close, the two performed an acoustic duet of Chappell Roan’s “Pink Pony Club,” while the audience swayed and sang along, flashlights held high. With their performances on Give Me A Tour, MARIS and Kingsbury establish themselves as a formidable team. Above all, it is abundantly clear that the two simply enjoy sharing a stage. They equally hype each other up throughout the show, and when they perform duets, their shared, beaming smiles are contagious. Give Me A Tour is well underway, yet fans are already looking to the future in anticipation of what will come next from this breakout popstar powerhouse duo.
Alex Fatato has been at this a while. From his beloved “high school band” with fellow scene all stars Thatcher May (Sports Coach, Stumpf, other bands we’re forgetting) and Mateo Garcia (King Being, like a million other bands you had to be there for) Du Vide to his move to Nashville and back again to the work he’s done since under Alexander (including this year’s excellent EP3), the output has amounted somewhere in the vicinity of five albums, three EPs, and hundreds of shows. Alex has graced the pages (and Youtube channel) of Allston Pudding many times over during that span, and he remains one of our absolute favorite songwriters in the city. Alex recently announced that he will be putting the Alexander moniker aside (for now at least) and will be taking a much needed break from the music grind in order to pursue other things, presumably like life and his job as an educator. While it saddens us to not have another perspective Alexander release in the pipeline, we do believe our man has more than earned the right to a little R&R.
On the eve of his final salvo at Deep Cuts we spoke with Alex about music and art and his place within those worlds, and we hope you’ll find that illuminating. Hit play on a couple of AP Sessions with Alexander from years back below and dig in.
Allston Pudding: What drove you to first start making music?
I thought my older brothers were very cool when I was younger and they were both musicians. I wanted to be like them. Learning to play music always coincided with writing it, and I wrote my first song when I was 11 years old. I don’t remember much about this song, except that one of the lyrics described climbing out of a “pit of despair”. When I showed this to my oldest brother, he said “what are you, Johnny Cash?” From that day forward I vowed to beat him at his craft. Today I can comfortably say that I did.
AP: Do you see Alexander and Du Vide as a similar continuum of music? How did Du Vide inform the music you made as Alexander?
I think there’s a similar continuum in that it was me writing the words and melodies, and I got older. But Du Vide became much more of a three-piece effort between me, Thatcher May, and Mateo Garcia. That felt like a rock band. Alexander has had probably around 20 members. John Carney and Bradford Krieger have been the only consistent collaborators over the last seven years, Bradford in the studio and John on a weekly practice basis. So Du Vide is the work of an emotionally volatile teenager gently shepherded by two extremely talented musicians, Alexander has been a slightly more mature collaborative effort between me and my friends.
AP: Are you a nostalgic person when it comes to your art?
I’m nostalgic about my life, and some of the songs get a little too close to how my life was when I wrote them.
AP: Are you someone that thinks about your legacy as a musician? How do you feel about it overall?
Unfortunately I’m hammered by streaming metrics that have convinced me I will be quickly forgotten. This doesn’t account for the hundreds of live experiences I’ve had the luck to share with hundreds of people all over the country. I like to think I’ve brought some comfort to folks for a few years now, and if I’m lucky, that can continue through the records.
AP: I know that you practice poetry and other kinds of writing, how do those other mediums influence your music?
I read a lot more poetry than I consume music. Over the last couple years I’ve grown to care a lot more about the lyrics than the music. The lyrics and the poetry come from the same running document of ideas. The songs have to operate within a tangible grid of beats and rhymes. The poems operate within a grid that’s a bit more elusive.
AP: Is poetry something you see yourself pursuing more? What would that look like to you?
I’d like to develop a manuscript over the next three years and publish it. That’s where I’m focusing most of my creative energy these days.
AP: As a teacher did your students ever find your music? What were their reactions to it?
The “Bicycle” music video was a real hit on the chrome books of my students for a few years. I managed to block that video from my school district’s internet, and that helped! But in the last year or two, I’ve gotten more comfortable sharing more of myself with my students. As I get older, I don’t mind revealing to my students that I’m a real person that engages in healthy self expression. So I’ll show them my Lucky Life vinyl and explain, and that will be that.
AP: Is there a particularly memorable Alexander (and/or) Du Vide show (or just moment in general) you’d like to relive?
The 2019 tour with community college was an extremely special time. Brad Krieger, my close friend and collaborator, toured with me, John, and Dan Margaris and that was the last longer tour I got to go on. The house show we played in Akron, Ohio was particularly horrific for a number of reasons. I would relive it in a second.
AP: One of my favorite songwriting tricks you have is inserting yourself into songs in 3rd person. What other idiosyncratic writing moves like that appeal to you as a musician or as a listener?
Thank you! I think that move kind of pulls the curtain back on what I’m actually doing a lot of the time – reflecting on myself and my behavior. Something I experimented with a little bit in the song “Prairie” was the “list poem” format. This was inspired mostly by Mark Leidner’s poem “Blackouts”. Big Thief’s song “Not” is another great example of a list poem.
AP: Tell me about some of your own favorite songwriters (or writers in general) and how they’ve influenced you as a person as well as your art.
I consider myself very lucky to have grown up around some really great songwriters and call them my friends. I’m always listening to community college. I’m always listening to Horse Jumper of Love. Always listening to Clifford.
Bad History Month continues to blow my mind, and I do think he’s one of the best lyricists ever. The effect that he had on me as a writer and a 19-21 year old person making sense of the world and myself was so important.
David Berman of course is my favorite lyricist and poet. Other poets I love are Terrance Hayes, Dean Young, Denis Johnson, Kenneth Koch, Larry Levis, and many more.
AP: What does the Boston music scene mean to you?
Through houses shutting down, folks moving away, bands ending or graduating to the national circuit, there’s been a steady atmosphere of warmth and positivity that I really appreciate. Younger folks are taking up the mantle (see: Pew Pew, Wedding Gift, Their Treasure) and it’s been fun to see.
AP: Will the Boston Celtics tank for real or are they just too talented to actually secure a decent draft pick in the lottery?
Joe would commit seppuku before intentionally losing any game.
Alexander’s final show (for now) is tonight at Deep Cuts, you can get tickets right here.
Queens Of The Stone Age brought The Catacombs Tour to the Wang Theatre on October 8th. The limited run of special shows, restricted to a curated selection of historic theaters across the country, was inspired by the band’s recent live recordings deep in the catacombs of Paris.
The concert began with Paris. Paris Jackson, that is. Consistent with the alternative nature of the tour, she performed a seated solo acoustic set in lieu of her usual full-band production. She debuted some of her upcoming work, though she remarked on the drastic changes from the studio recordings to her acoustic rendition by commenting after a song, “believe it or not, that’s one of the ones I’m screaming with a full band.” In a show of support, a demonstrative guttural scream emanated from the catacombs of the balcony.
Queens Of The Stone Age began their set at the front of the stage with the curtains closed behind them. Frontman Josh Homme meandered across the stage, lit only by a handheld lamp as he entered into the first act of the three-act performance. With the addition of a small string section, the band performed the whole of their Alive in the Catacombs EP, front to back. The EP was the fulfilment of a decades-long dream of Homme’s to record live in the Catacombs in Paris. It features all-new arrangements of five songs spanning across Lullabies to Paralyze through In Times New Roman… to suit the setting. The re-worked music departed from the hard rock sound that QOTSA are best known for in favor of a softer, more orchestral interpretation.
Upon completion of Alive in the Catacombs and the first Act, the curtains opened to reveal a larger ensemble for Acts 2 and 3. The remainder of the evening was a showcase of the completely re-imagined Queens Of The Stone Age, with transformed arrangements crafted specifically for The Catacombs Tour. Fans were elated to hear new versions of deep cut QOTSA tracks, but nevertheless Josh Homme made a point of thanking the audience for indulging his long-held wishes. He mused, “I know we’re always asking you to do weird shit, but I do think weird shit is the key to not being fucking bored.” True to the theory, the audience that Homme described as possibly “the rowdiest yet” was far from bored. That was hardly surprising however; fans who made it out to the Wang Theatre on October 8th understood their luck to catch a one-of-a-kind Queens Of The Stone Age experience.
Check out all of Greg’s photos from the show below.
Boo Boo Spoiler are something of a hidden gem in the increasingly-celebrated shoegaze/noise rock/whatever you wanna call it scene of Philadelphia. Featuring members of various beloved Philly groups as well as Dan Lewicki from forever AP heartthrobs Strange Mangers and signed to the area’s would-be epicenter in Julias War Recordings Boo Boo (at the moment at least) are a heads only concern with just one short, but punchy EP to their name. However, enterprising listeners will no doubt have seen them play support at the Ukie Club, Foto Club, and the various other spots that dot the Philly area. As seen above, Boo Boo also played a sweaty, legendarily stacked show in Charlestown last summer with They Are Gutting A Body of Water, Horse Jumper of Love, the aforementioned Mangers, and Alexander and if you missed that one, oh boy.
If there’s any justice in this wicked world Boo Boo Spoiler’s run as undersung heroes will be coming to an end. Today on Halloween the quartet is issuing their second offering as a group in the form of a double A side single entitled my guitar / take me with you. The opening “my guitar” opens with a trebly and sour guitar line that kinda sounds like a old beater car struggling to fire up in the dead of winter before the band kicks in and the whole thing goes widescreen. Its running mate in “take me with you” offers a similar trick though its bracing, crash cymbal heavy churn has even more bite to it, swaying across the sonic field as Pax Martyn solemnly coos the titual phrase. Both of these tune offer a lot more movement than the supposedly staid wells (shoegaze, slowcore, noise rock et all) from which the group draws, and both are indicative of the ridiculously deep roster of rockers calling the city of brotherly love home. Read on for some thoughts from Martyn and hit play on the stream below.
“take me with u” is as melodically satisfying as it is heavenly textural. While it is apparent that we pull inspiration from the shoegaze greats of the 90s alongside our contemporaries in Philadelphia, there is an ever-apparent softness battling the sharp edges of the current moment.”
my guitar / take me with you is out now, you can grab a digital copy here.
September 22, 2025. Cafuné performing at Boston’s Brighton Music Hall. Photo By Kenneth Palacios.
“Cafuné” is a word that describes the tender act of running your fingers through a loved one’s hair as a gesture of affection. And when the indie-pop duo with that name came to Boston, it felt just like that.
The duo started as a side project when Noah Yoo and Sedona Schat met at New York University and worked on a song together in 2014. After making music for a while, they released their debut album Running in 2021 and signed to Elektra Records in 2022. As their third stop on the Alive Online Tour, Cafuné stopped by Boston for the first time in almost two years. As the crowd lined up outside Brighton Music Hall, Yoo and Schat emerged from the doors to walk out of the venue to get food, where people watched both excited and slightly surprised. The abrupt appearance that caught everyone off-guard sparked conversation between attendees wondering when they would be back or where they were going to get food, some even betting on how long it would take.
The tour is in support of the recent release of their album Bite Reality. Joining Cafuné is Crushed, another indie group that started as an online friendship built on a shared playlist of ‘90s favorites such as The Sundays and Cowboy Junkies. Crushed came out to open up the stage and get the crowd ready.
September 22, 2025. Crushed open up the stage for Cafuné at Brighton Music Hall. Photo By Kenneth Palacios.
Anticipation built as people waited and held onto their spots at the barricade. Some would find their way up to the stage, while others roamed around to get merch or mingle. Everyone was eager for what was coming. As the chatter began to get louder and louder, the lights turned off in the house. As the stage began to glow up, the crowd started to blow up.
Opening the set, Cafuné played “The Moment,” the first song of Bite Reality. People sang along, threw hands up to the sky or around someone else, and began to chant every single word to the song and the night began. Cafuné played crowd favorites and people savored it. Every note of songs like “Reconsider,” “Tek It” and “Perspective” would have everyone screaming and jumping while going word for word with the lyrics, while songs like “Temporary Lover” and “Attack + Release” would have people swaying left and right, vibing out. Ending the set, the band played “Want Me Out” and the crowd bursted in cheer and laughter, with some left crying tears of joy Afterwards, everyone made their way out of a night to remember.
Passion Mango from Vancouver, BC., dressed to impress
When I saw the singer-songwriter name “Passion Mango,” I thought I would be biting into a bin of overripened, upbeat tunes from someone who lives in a climate with too much sun, ala Dayglow. What I got was hydroponic bedroom-pop from someone with a never ending view of the misty moldy mess that is the Pacific Northwest.
As someone from Bellingham, Washington, there is something familiar about the feel of these songs, whether it is based on the blase affect of being in a constantly gray-lit environment, or proximity to alternative Canadian music in general, I instantly made a connection. Let me say this in plainer terms: I love Canada (except when they beat the Mariners). I wanted to move to the evergreen coast when I was 18 but life had other plans. Passion Mango taps into a unique sense of place and nostalgia that speaks to me.
Passion Mango is the moniker for Vancouver, Canada based artist Connor Wilkinson, who’s hit song “Boy,” whet his appetite for subsequent albums, including last year’s self-titled and this year’s Clean Slate. Wilkinson’s haunted guitars, ethereal vocals, and sparse arrangements lurch forward on the downtempo numbers. Occasional dance breaks occur throughout, offering levity and a sense of relief to keep the vibe unexpected and hopeful, hopeful like maybe I could have my own “clean slate”: move out of the country and grow plants using a water based nutrient solution, in my element, swaying to the beat from “Joint.”
Getting their juice from influences like Sun Kil Moon, Beach Fossils, and Alex G, Passion Mango has propelled themselves across the country supporting fellow Vancouverites, Hotel Mira. The slower and cerebral numbers resemble SKM, the boxed indie beats and chorus effect Beach Fossils, and acoustic, single-named songs like Alex G. For further listening, a similar Canadian artist that also draws on these influences is Montreal’s excellent and mysterious singer-songwriter, Gaspard Eden.
On Tuesday, October 28, the passion man goes to the ME upstairs in Cambridge. Check them out.
Perry Eaton, aka Ivy Boy. Photo by Corwin Wickersham
Perry Eaton is many things: high school English teacher, creative force of the indie rock band Beeef, and founder of an obscure little award-winning Boston music blog called Allston Pudding. Now he’s put on yet another proverbial hat under the moniker Ivy Boy, and he is releasing his debut solo album of the same name on October 24th. We managed to catch up with Eaton on a break in his classroom to talk about his new project.
When asked about the genesis of Ivy Boy, Eaton admitted that the solo music had been simmering in his head for a while, predating the 2020 pandemic. In the intervening years, his band Beeef has remained active, putting out their third LP Somebody’s Favorite last year.
But Ivy Boy has remained separate throughout that time as the two projects thrived concurrently. “To me the only thing that really felt distinct about it is that [Ivy Boy] felt like it was designed for acoustic guitar, whereas Beeef feels very plugged-in, and to me–for some reason in my head–that made the world of difference.” He leaned into that acoustic sound as he continued to write for himself. “Simultaneously we were preparing a Beeef album, but I was also writing more songs at a rate where I was like, I’d love to just not have to wait for the next Beeef album cycle too.” Ivy Boy is the direct product of that creative overflow. During the recording process for Beeef, Eaton brings the main structure and lyrics to the table, but he credits his bandmates with adding their own creative flair and refining the final production.
On his own for Ivy Boy however, Eaton takes the practical limitations of a solo project and allows that to shape the Ivy Boy sound. The acoustic indie-folk direction is both an intentional exploration of a different genre and a logistically minded choice. “Because I’m getting older, in writing the Ivy Boy stuff I don’t even know if I knew enough people to recruit a band for it, so I was like, these are songs that I’m going to have to be able to play on my own with an acoustic guitar too.” Even so, he managed to assemble a surprisingly large roster of collaborators during the recording of his self-titled album. Stumbling upon Ryan Katz and Aaron Brown running their boutique studio and service, Hot Take Recording, Eaton was astounded by the versatility they offered his fledgling project. In addition to acting as the backing band, Katz and Brown recruited Noah Leong to add strings. To further flesh out the recording, Perry was happy to onboard his longtime friend Elio DeLuca to play keys. “It was awesome being able to collaborate with new people and old friends, and this album would be absolutely pathetic if it wasn’t for them.”
Also among the list of contributors to Ivy Boy: Henry “Cadillac Jack” Eaton – Perry’s father. “Yeah my dad’s a musician. He played in an old Boston band from long ago called Duke & the Drivers. They put out a couple records on ABC Records back in the day and they were a touring band, and yeah he dusted off the guitar.” The elder Eaton’s lead guitar feature can be heard overlaying the infectious final track “Olive and the Gibber,” an upbeat, funky romp to conclude the album.um.
When asked to describe his debut album in his own words, Eaton paused for a moment before arriving at a fitting summary. “Hooks and melodies that have kind of pop sensibility, but cloaked in kind of an indie-folk, sometimes even jazzy-folk sensibility. I think lyrically it may have kind of subconsciously been that in my role as a high school teacher, I’ve read so much writing of like 9th graders that I’ve developed this kind of literal, top of mind songwriting too. I think there’s a lot of similarity in the themes that Beeef has of nostalgia and getting older, and the beauty and heartbreak of that, but also just like a lot of poignancy of just saying things that feel less abstract and more just like literal of what’s on my mind.”
Expanding on the nostalgic theme of the album, he said, “I would say since the time that I turned 23, I’ve felt old in the Boston music scene because it is so young.It feels like looking distantly on what the old times used to be like, but hopefully not in like a grump ‘get off my lawn’ kind of way.” Indeed Boston’s vibrant music scene is fueled in no small part by the constant influx of young college students, including those attending Berklee College of Music. “It’s a blessing and a curse. The blessing is that we get so many good, creative young musicians. The curse is that it becomes so transient too; it’s like we get a little bit of them and then they go to Brooklyn, or they go to LA, or Nashville.” Comparing that to his own experience, Eaton mused, “I’m proud that Beeef has stayed together for so long and I’ve been able to make music in Boston for so long, because you don’t see as many bands with multiple releases and multiple years under their belt sticking around Boston.”
Being an “old man” is not all bad however, and if anything, it has positively colored his perspective on youth. That same positivity has lent itself well to his day job. Speaking on the ways being a high school teacher has impacted his creative endeavors, Mr. Eaton notes that it gets harder to set time aside as he gets older, but he takes it all in stride. “I do find a lot of inspiration from it. I think unless you’re actually doing it, you don’t quite know how creative a role teaching is. It commands a lot of thinking outside the box and you’re collaborating with people, young people who still have a lot of imagination left in them… they have a lot of really interesting, uncorrupted ideas still, and I think that’s been a big inspiration for me as I’ve continued to write music on my own.”
Ivy Boy was probably inevitable, for as much love as Perry Eaton has for his other work. His overwhelming urge to create, spurred on by inspiration drawn from past and present, was bound to extend beyond the confines of Beeef. While he considered the constant march of growing older contrasted by his steady exposure to youth, his ruminations seeded growth that manifested itself as his debut album. Even as he has remained self-conscious of aging and finding his own place within the Boston music scene, his optimism shines through in the reassuring lyrics and jaunty hooks of his solo music. Perry self-depricatingly describes Ivy Boy as his most “old man” work to date, but within it is a hopeful core that precludes any accusations of bitterness. Perry Eaton may feel older, but he certainly hasn’t allowed himself to become jaded. For the time being, it looks like we don’t have to get off his lawn just yet.
The Ivy Boy self-titled album release show is on Friday, October 24th at Deep Cuts in Medford.
Viral sensation and (alleged) 6’7” pop-rock star Sombr closed out Leader Bank Pavilion’s concert season on The Late Nights & Young Romance Tour on Wednesday, October 8th, 2025. Fans in cropped shirts, red sequin mini-skirts, and black boots strutted into the open-air venue by the Boston Harbor, dressed as if they were embarking on a Friday night out, emphasizing just how much fun everyone expected the concert to be. A clever preshow playlist ushered fans to their seats at the sold-out show. Tracks included “Fame Is a Gun” by Addison Rae, who just performed in Boston earlier that week and starred in Sombr’s steamy music video for “12 to 12.” The singer recently received the stamp of approval from Taylor Swift, who shouted him out during an interview on The Tonight Show Starring Jimmy Fallon. This cosign happened to take place in the perfect setting, as Sombr had created an entire immersive late-night television set for his live shows. SNL-grade pieces, including floor platforms, a wooden desk, arches with cutouts of the city skyline, a giant disco ball, couches, and a vanity, embellished the stage. The energy was already at an all-time high when fans cheered as if an act was coming on stage when the gaffers climbed up the rope ladder to the soundboard light platform to prepare for the show.
First up was singer-songwriter Devon Gabriella. Her emotionally raw and aching voice resonated with the audience as everyone swayed along to tracks like “The Garden.” She brought her own garden to Boston with floral decorations wrapping around her mic stand and the front of the stage. She skipped back and forth in a flowy white mesh two-piece off-the-shoulder set, a perfect outfit for a day by the sea. She had an effortless confidence, performing the standout track “Bad Blood” with smooth, powerful vocals. Toward the end of her set, she took a moment to shout out her amazing band, adorning them with flower crowns. She then covered “BIRDS OF A FEATHER” by Billie Eilish, a clever way to form a bond with the audience and get the whole venue singing along, before blowing kisses to the audience and promising to meet them at the merch stand.
Soon after, the lights dimmed and Sombr’s voice played over the speakers, welcoming everyone by saying, “Live from New York City, it’s the Late Nights and Young Romance Show…with musical guest, Sombr!” His band played a grungy rock instrumental as he ran out in a black leather fringe jacket, black velvet pants, and a metallic silver shirt. He was bursting with energy as he fell onto the floor and grabbed the mic to sing “i wish i knew how to quit you.” He dragged the mic stand around the stage, adding drama to his performance as a distorted filter enhanced his raspy and dynamic voice.
He blended energetic high points of the night with intimate and emotional performances. During “Caroline,” the song that catapulted him onto the radar of music labels, he performed an acoustic rendition as fans waved their flashlights. During the viral hit, “Undressed,” he was explosive, jumping off the desk and running to the farthest parts of side stage that other artists rarely visit. Throughout his set, he pushed his vocal prowess, having an Ariana Grande moment whenever he hit a velvety falsetto note.
He complements his charged vocals with his boisterous Gen-Z personality, making it a key part of this show and his unfiltered banter with the audience. Between songs, he played a recording of his own voice interviewing himself. It asked questions about the life of a rock star, including his morning routine, whether he could take off his shirt, and more. Sombr answered by saying, “Take me to dinner first,” and that he wakes up at “6 or 7” in the morning, a phrase that awakened all Gen-Z like sleeper agents, who screamed with excitement at hearing the meme phrase. He later executed a segment that built an ironclad bond with the audience: two lucky fans had the opportunity to call their exes and let Sombr decide who was the problem. While the selected fans were walking to the stage, this cheeky lover boy urged any single ladies in the crowd to submit a dating application to the email in his Instagram bio. The tea was piping hot as fans listened to Stella’s ex, Em, reveal that she left Stella for her brother! Next up was Liz, whose ex, Jack, was driving 2 hours to pick her up from the show. She said Jack broke up with her because he needed more time with friends, eliciting fervent boos. Sombr acted as wingman after hearing Jack express his remorse. The singer asked Jack one final test question, “Do you want your shawty back? Where would you take her on your first date back?” Jack passed the test, saying he’d take her to the beach to get her flowers.
These humorous segments and bits added an addictive theatrical element to the show, keeping fans glued to the stage when he wasn’t passionately belting out his catchy tracks. He returned for an electric two-song encore. Employing a unique punching bag anchored mic stand that he’d toss around during “back to friends,” dodging it as it whipped around the stage. This back-and-forth spontaneous choreography poignantly mirrored the feelings of navigating a relationship. Before closing out the show, he expressed his sincere gratitude for Boston; this show at Leader Bank Pavillion was his first headline show in the city, and it was upgraded twice from a venue with a capacity of 500 to 5,000. The 20-year-old rockstar shared how he never takes these opportunities for granted, that he wrote all these songs himself from ages 16-19 in his room, how he appreciated that everyone spent their money on these tickets, and that “If you ever alone or like nobody loves you, that’s not true, because I love you so fucking much.” It was clear that this was the first of many headline shows in New England to come. Make sure to catch Sombr live before The Late Nights and Young Romance Show ends in March. Buy tickets here.
Rico Nasty calling you a loser. Photo by Emily Gardner.
One of the early pioneers of the alt-rap genre, Rico Nasty slid into the House of Blues on October 14th to promote her newest album, LETHAL. She was joined by Toronto-born SadBoi and a local favorite, Kei. Fans arrived sporting their best goth and punk gear: black eyeliner, fishnets, piercings, and even Band-Aids as accessories.
Kei opened up the show and her charisma captivated the crowd. It didn’t take long for the audience to sing and bop along while Kei danced from one side of the stage to the other. Towards the end of the set, she brought out ALONE, a local guitarist, to shred on some tracks. Kei’s performance was full of that alt-rap sound so naturally, it was the perfect opening to a Rico show.
Next up was SadBoi who brought more of an upbeat dancehall vibe to the stage. Just like with Kei, the crowd was eating up the energy and shouting back lyrics while SadBoi grooved along. In a strange twist of events, she ended her set with a sing along to “We Are Young” by fun. It was a change of pace, but the crowd knew every word and left them in a state of frenzy for their headliner.
Rico has always represented a modern type of alternative punk, but this vibe is really driven home on LETHAL. The album showcases Rico’s heavier sound on songs like “SON OF A GUN” and “SMOKE BREAK.” Unlike past shows, Rico had a guitarist on stage with her to add a heavier dimension to the performance. The setlist included a whopping 38 songs and featured tracks from all over her discography, including songs she featured on like “Swamp Bitches” by Doechii, “Tia Tamara” by Doja Cat, and “JUNGLE,” her newest collaboration with Fred again..
Although there were a ton of songs performed, it never felt like too much. Rico’s graceful sequencing stitched tracks together with seamless transitions where even welcome diversions like “Sanctuary,” the opening track from Kingdom Hearts 2, fit naturally into her world. The set was mostly composed of tracks from LETHAL, but diehard Rico fans were treated to fan favorites like “Smack a Bitch” and “Rage.” The show felt like a celebration of Rico’s career thus far. The cherry on top? She couldn’t stop smiling throughout the night. It’s such a joy to see an artist truly happy to perform and connect with her fans, new and old.
Check out the rest of Emily’s photos from the show below.
Fortuna 500 pose with corncobs. Photo by Lena Warnke.
Anyone who has studied The Big Lebowski as a text will tell you that humble exteriors often hide great wells of mystical depth. For their second single, Somerville quintet Fortuna 500 embody Wowee Zowee-era Pavement (which is peak Pavement if you were wondering) and quickly settle into a hard-charging lope. “Romantic Civilians” is a swerve away from “Sara Lee,” the band’s chicken fried steak of a debut single, but Fortuna 500 imbue both tracks with the grace and natural ease of a tumbleweed. The elastic chug of guitars is relaxed enough to allow for the occasional ebb before kicking back into high gear.
Songwriter Cole Triedman’s lyrics describe a perspective on how to face the uphill battle of a life in music (and life in general). The chorus alludes to getting out of familiar surrounds, Union Square in Triedman’s case, to where you’re nothing but a “sparkling and quotidian” stranger. Later, he’s cooking up a scheme with a Dionysian spirit, ready to take on any town and their attendant white collar criminals and CEOs. A little Bacchanal goes a long way.
Owing to Fortuna’s growing reputation as a formidable bar band, the track was recorded live and loose at Little Nice Studio in Lincoln, Rhode Island. There’s a lot of delicate picking and joyful noise going on courtesy of Ryan DiLello and Harley Spring. The Fortuna 500 band is just picking up steam and this pair of releases is a strong start for one of Boston’s most promising and refreshingly wry new bands.
