Checking In with CARRTOONS

Posted on 10/13/2025 by Andrew McNally

Photo by Adam KissickCARRTOONS, aka solo bassist Ben Carr, made his Newport Jazz Festival debut on August 2nd with an energetic performance that sustained an undeniable groove. Carr was joined by guitarist and vocalist Julia Zivic, vocalist Joanna Teters, keyboardist Kiefer Shackelford, and Drummer Diego Ramirez. Carr and his band captivated the crowd by laying down funk-filled basslines and vocal harmonies that melted together. To honor his years attending the festival with his dad as a teen, Carr brought out his father, Rick Carr, to play an upbeat violin section. Carr was also joined by Haile Supreme, who is featured on Carr’s brand new album Space Cadet. In addition to the honor that comes with performing on the historic Newport stages, Carr also developed a surging excitement for his upcoming fall tour after performing a great set with the band members he’s grateful to have by his side. We caught up with Carr at the festival to learn more!

Abby Stanicek: What was it like performing at Newport Jazz for the first time after coming as an attendee for years and performing with your Dad?

Ben Carr: I mean, it’s super surreal to be here in this context. It was definitely a dream of mine growing up and on the bucket list. This is the place where I decided I wanted to study music in college. I was 17 and I was like “You know what? I wanna go to music school.” This place will always have a special place in my heart for that reason. It’s a sentimental and beautiful day. I’m very proud of my whole crew and it’s just so awesome to bring my dad here.

AS: It was just so great. I was smiling ear to ear. I also feel that inspirational vibe when I attend the festival.

BC: This place has a spirit. It really does. I know that none of my crew had been here before, so I knew it would be really special to bring them here for the first time, too. It’s been a full circle day in a lot of ways.

AS: What was the process behind coming up with the set list for the day? I know it was probably a little bit of pressure because you have an allotted time on stage and today’s a huge deal.

BC: I really wanted to start with stuff that we were comfortable with. I wasn’t as concerned as I’d usually be about starting really intensely or with a classic opener. I had the idea to create more of a slow build of a set, and I feel like I accomplished that. I felt that by the end, we were really elevating and felt like were almost just starting, in a good way. The way I like to see festival sets personally is that when it’s over it feels short and like we could actually keep going. That was the idea, but who knows if I actually accomplished that.

AS: I thought it was great and it flowed really well. And on the subject of your setlist, what were you most excited to perform before the set, and what song ended up being your favorite to perform?

BC: It’s funny you say that because the one I was probably the most excited about, we didn’t play. It was one we hadn’t played before, but we rehearsed it yesterday. It was an arrangement of the SWV song “Rain.” I was excited to play it from a bass player’s perspective, but they gave us the 10-minute warning and it was really important that we got Haile Supreme up there for the last two songs.

AS: What draws you to work with your vocalists and instrumentalists, Joanna Teters and Julia Zivic?

BC: I was in a band with Joanna fifteen years or so ago. We met in college, and we were in a band for seven or eight years called Mad Satta. Throughout that, Julia would sing backup vocals for us around that time, so we’ve always had a thing where I produce music for her and we play as a band. And when I started doing CARRTOONS, she was a free agent. Neither of the girls were in bands anymore, and I was able to bring them along for this. They’re such an incredible icing on the cake for people that know me and like the music, and often don’t even know that’s what they’re gonna get as a bonus. It’s definitely been a blessing for audiences and me to have them along for the ride.

AS: They’re incredible. Your work, combined with their voices, was such a great thing to witness. You can see how passionate they are about it, too. On the subject of production, is there anyone you’ve met here or you’ve seen perform that you would want to produce for?

BC: I just ran into Samm Henshaw a second ago since we played on the same stage and our management has been trying to get us together. But we really needed to actually be in person and be like “Hey! I like your stuff. We should get together. So hopefully, that’ll lead to something someday, maybe in five years from now or so, and I’ll be like “Oh yeah!”

AS: Have you seen any acts today that have left you feeling inspired in terms of production or writing your own music?

BC: I’m gonna have the same answer and say Samm. I was just seeing his set right before we walked over here and it was really cool. Our friend Solomon Fox was playing keyboard and it was just great to see good people thriving.

AS: After performing this weekend, what are you looking forward to with your upcoming album release and tour dates that you have coming up?

BC: I’m excited for more of what we did today. With the touring situation we have, it’s a family affair. It’s just a fun hang. I’ve designed it to be something we can all look forward to from a social perspective too. Anybody who’s traveled doing music knows that these are long days, so you’ve gotta be around people that you really love. I’m looking forward to having more stories and good times on that tour. I feel like this is gonna be the beginning of a new chapter for me in a lot of ways. I’ve had those good kind of butterflies about how everything’s gonna go, and I’m excited about it. I’m making some changes, but I think they’re all gonna be for the best.

Carr’s new album, Space Cadet, is available for your ears wherever you listen to music.

If There’s A Heaven, It’s A Noah Cyrus Show In Boston

Posted on 10/10/2025 by Photo Editor

Photos & Review by Samantha Davidson

Noah Cyrus Samantha Davidson — October 7th, 2025. Noah Cyrus performs at the House of Blues. *Photo by Samantha Davidson.*

Country indie-folk star Noah Cyrus stopped at the House of Blues Boston on October 7th on the I WANT MY LOVED ONES TO GO WITH ME North American Tour in support of her sophomore album of the same name. The rustic aesthetic of this album inspired fans to wear deep greens, beiges, and muted pastel shirts adorned with vines and leaf decorations. They came perfectly dressed for the occasion as mossy rocks, trees, a mic stand covered in vines, and a woodland background lined the stage, transporting the venue to a mystical forest.

Rising country star Carter Faith kick-started the show with pure charm and vocal prowess. She recently released her first album, Cherry Valley, and performed a range of catchy tracks from it, including “Six String.” She strutted on stage in a white silk slip with a two-piece supporting band. The standout track, “Bar Star,” boasted clever lyricism inspired by her friend who was at the show. The term originates from the experience of looking for an attractive man at a night out at the bar, also known as a bar star. She delivered a dynamic performance, weaving vocal flips and belting moments with a soft falsetto that drew everyone in. She sipped some wine and chatted with the audience between songs to build a bond with them. She shared, “I’m a depressed person. Do we have any depressed people in the house?” eliciting many cheers. During “Grudge,” a song she revealed she wrote “about this mean person who pissed me off a bit,” she had the crowd scream “bitch” in unison, a moment of welcome catharsis. She thanked Cyrus for bringing her along on tour, citing her as a big inspiration and this experience as a dream before departing backstage. Her smooth voice and bubbly personality left fans craving a headline show.

Soon after, the lights dimmed again and the crowd released deafening cheers. Cyrus set the scene, crafting a dramatic and moody entrance by carrying a lit vintage lantern in a flowy folkloric outfit. She wandered around the stage, wistfully looking out into the crowd in a brown bark-textured corset, a cream dress that was exquisitely draped, and luscious brown locks long enough for Rapunzel before she placed the lantern down on a tree. She dove into the album’s opening track “I Saw the Mountains,” immediately captivating the crowd with her lush Americana and folk sound. All eyes were glued to the stage as she sang with an addicting Southern drawl and passionate ache in her voice. Many of her tracks, like “Don’t Put It All on Me,” are a vulnerable reflection on her relationship with her family, which clearly resonated with the crowd who sang back each word emphatically. She paused to welcome new fans who were seeing her for the first time and celebrate those who had been with her for a while. She was a woman of few words, conscious not to break the immersion she was cultivating through her rich storytelling and theatrical performance.

Toward the middle of the set, all the lights turned green and the band began to pluck the ethereal intro to “Man In The Field.” Cyrus picked up the lantern again and used it to mirror the haunting song, which explores themes of searching for a lost time in one’s life. Lighting was another technique she employed to invite the audience to her world, flushing Boston in bright oranges and reds during the track “I Burned LA Down.” She added one perfectly selected cover to the set, “Going to California” by Led Zeppelin, a song that was enhanced by her smoky voice and California upbringing. Her adorable and playful relationship with her fans bubbled up throughout the night as she read posters, put up hand hearts, and caught bracelets fans made for her. She effortlessly weaved between intimate moments and high-energy anthems, such as the track “July.” During this song, she grabbed the mic off the stand, skipped around the stage, belted each note powerfully, and danced with abandon to the rock-inspired melody her band was shredding.

She returned for a mesmerizing two-song encore, ending with the beloved track “XXX,” sending a love letter to the venue with lyrics like “Can’t contain my love…but why would I want to? / I sign every letter with XXX.” Cyrus crafted a show overflowing with storytelling, warm vocals, and spellbinding visuals that enthralled the Boston audience. The thoughtful setlist and attention to detail transformed this night out into an unforgettable spectacle. Cyrus just released the deluxe edition of her album on October 10th, featuring even more dream collaborators like Orville Peck. Listen here. Make sure to catch Noah Cyrus live before the I WANT MY LOVED ONES TO GO WITH ME North American Tour ends in Phoenix, AZ, later this month. Buy tickets here.

Check out all of Samantha’s photos from the show below.

Twenty One Pilots Breach Connecticut

Posted on 10/10/2025 by Photo Editor

Photos & Review by Samantha Davidson

Twenty One Pilots Samantha Davidson — September 30th, 2025. Twenty One Pilots perform on *The Clancy Tour: Breach* at Xfinity Theatre in Connecticut. *Photo by Samantha Davidson.*

Columbus-born alt-rock duo Twenty One Pilots embarked on The Clancy Tour: Breach, one of their last runs of live shows for a while after wrapping up over 10 years of lore and storytelling as a band. Vocalist Tyler Joseph and drummer Joshua Dun have been creating music together for over a decade, building a world for fans to escape into as they navigate different phases of their lives. After releasing Breach in September, the band stopped by Connecticut’s Xfinity Theatre to deliver an immersive and unforgettable night of community and music. Fans dressed in grunge, black ensembles and covered each other in red and yellow tape, symbolizing the Banditos and rebels from the fictional storyline created by Twenty One Pilots. These characters hail from “Dema,” the cement city in “Trench,” ruled by nine power-hungry bishops. Across five studio albums, both lyrically and visually, the band and their fans have fought to break the vicious cycle. This tour tradition of fans taping each other is a symbol of how loyal their fans are, showing that they are always ready to go to battle for them.

A line extended across the spacious parking lot far before doors opened, with fans flooding in immediately at 6:00 pm. Many headed to the amphitheater’s lawn, named the “Bandito Camp” during this leg of the tour. Fans had the opportunity to pose for pictures in front of a campsite with tents, yellow flowers, and ukuleles thereby getting ‘recruited’ to join the Bandito cause. Each person signed a flag with the city’s name on it, one that Dun would later carry during the show. This interactive element was the first of many thoughtful details the band curated during the show to honor their fans, making the world of Trench real for one vivacious night.

Dayglow Samantha Davidson — September 30th, 2025. Dayglow opens for Twenty One Pilots at Xfinity Theatre. *Photo by Samantha Davidson.*

Beloved indie-pop artist Dayglow kickstarted the night with smiles, energy, and hypnotizing tracks. Songs like “Can I Call You Tonight” got the crowd up and dancing to the sharp percussion provided by his three-piece band. Dayglow’s airy vocals floated around the amphitheater, warming it up right as the sun began to set. Sparkling instrumentals infused hope into the crowd, which was the perfect way to usher fans into a night of unity and fun while reliving the past ten years of music. The band bounced energy off of each other the entire set, with Dayglow coming together with his guitarist to shred during each song. He ended his set with “Run The World!!!,” an upbeat, pounding track with more cynical lyrics if you listen closely. This juxtaposition is another shared artistic style of Twenty One Pilots, making Dayglow a natural fit for the bill.

Soon after, the lights dimmed again, and the venue released deafening cheers. The buzzy opening notes to “Overcompensate” began to play as Dun walked out, wearing a black mask with red, glowing eyes. He raucously hit each beat, infusing energy into the venue. Joseph appeared out of nowhere, stepping up onto the wooden piano and explosively jumping off the top, a feat even difficult for my 24-year-old knees. He began rapping in an addictive, gritty, and melodic style, with fans singing so loud that they almost drowned him out. Joseph carried a camera and a tripod during “RAWFEAR” to film himself, Dun, and the crowd. His lively camera work reflected the intimacy of the song, capturing close-ups of himself during lyrics like “Learnin’ all that really matters is a slow and painful lesson.” The band used their visuals to propel the set, displaying a video of fans filmed before the show to the song “We Don’t Believe What’s On TV.” This moment showcased and celebrated fans’ clever outfits and excitement for the show.

Tyler Joseph Samantha Davidson — September 30th, 2025. Tyler Joseph performing “RAWFEAR” while holding a camera. *Photo by Samantha Davidson.*

There was an ominous B-stage on the lawn, featuring the black car from many of their music videos. During “Routines In The Night,” Dun and Joseph wandered around the venue, taking the time to sing and high-five fans on their way to the stage. Daring pyrotechnics defined their time on the lawn as the car exploded in flames, perfectly timed to the beat during tracks like “Pet Cheetah,” underscoring the charged and emotional music. During the fan favorite track “Chlorine,” Joseph made the trek back to the main stage. He stopped to sing the bridge, surrounded by fans dressed up as the adorable horned creature ‘Ned’ from the song’s music video. This once-in-a-lifetime singalong underscored how the fan experience is of the utmost importance to the band when creating this show. Dun followed closely behind, as the head Bandito, he was in charge of carrying the signed Hartford flag back to his drum set, forever immortalizing fans in the story.

Later in the set, Joseph revealed they hit a snag. Apparently, the Fire Marshall did not give them the green light to use some of their special effects. Dun typically also carries a lit torch through the crowd with his flag, and was not able to do so this night. Although the detail may have gone unnoticed by fans, Joseph was visibly distraught, apologizing for not being able to deliver the show they wanted and revealing the high standards he holds the band to. Of course, he put his signature humorous twist on the situation, cheekily dedicating the next track, “Garbage,” to these sticklers. This song was a point of catharsis for the crowd and anyone who has felt like a misfit as they screamed the lyrics, “Don’t give up on me.”

The band held the energy impossibly high the rest of the night, giving back every drop of passion they received from fans. Joseph executed his signature screams effortlessly during emotional songs like “The Line” and “Tally,” an impressive feat given that he has been screaming for almost 20 years. For The Clancy Tour and this year’s The Clancy Tour: Breach edition, the band has instated the new tradition of celebrating the next generation of fans. During the hit song “Ride,” Joseph sauntered through the crowd to pick a child to sing the final chorus with him. He returned on stage with the fearless Chase, who belted out the notes with confidence. An unsuspecting fan may have gotten whiplash from all the crowd interactions. Just then, Dun traveled to the back of the amphitheater to be thrusted onto a platform with his drums that were only being held up by the crowd beneath him during “Drum Show.” Their ability to utilize each corner of the amphitheater was a testament to their commitment to making every seat in the house the best one.

They returned for a charged four-song encore, ending the night with “Trees,” a staple finale on their setlists dating back to the early 2010s. At the end of the song, they traveled back to the crowd one more time to stand on platforms held up by the pit; they have quite strong fans. The crowd also held up one drum for each member as they tossed water on the drumhead. Confetti filled the venue, fans pumped their fists in the air to the beat, and the band looked around to take in all they had built. Make sure to catch Dayglow and Twenty One Pilots live before The Clancy Tour: Breach ends later this month. Buy tickets here.

Check out all of Samantha’s photos from the show below.

Bermuda Search Party Go Back to Their Roots at O’Brien’s Pub

Posted on 10/10/2025 by Dan Moffat

by Greg Wong

Bermuda Search Party finds the right note at O’Brien’s

On the last night of September, Bermuda Search Party returned to their roots to play a special show at the one-and-only O’Brien’s Pub. The boundlessly energetic band brought the party to the pub to celebrate the release of their new single, “BETTER LoVE.”

There was no opener for the evening’s event; the show revolved entirely around Bermuda Search Party and the fans who were able to snag tickets before they quickly sold out. They commanded the tiny stage for their 90 minute set, demonstrating the vibrant live performance they’ve built a reputation for in spite of the limited space. The setlist could be described as a half-and-half mix of their older songs and their newer songs, with the latter portion of the show dedicated to Bermuda Search Party’s new album Fools On Parade with the grand finale being “BETTER LoVE.”

Between songs, Bermuda Search Party took their time to contextualize the significance of choosing O’Brien’s Pub for their release show. The last time they had played at OB’s was in March of 2020, immediately prior to the COVID-19 lockdowns and back when Bermuda Search Party was still known as The Q-Tip Bandits. Since then, the band have changed and grown but they haven’t neglected their origins in DIY shows and dive bar venues, nor have they forgotten the support from the people who make up an integral part of Boston’s music scene. To that point, lead vocalist and guitarist Leo Son related a cherished memory of the late Hugh McGowan, who hosted the Open Mic nights at The Burren in Somerville, and credited McGowan’s early support as a pivotal reason for Bermuda Search Party’s existence. In a sense, the concert was not just a release show but a tribute to what makes Boston a supportive space for creatives.

Check out all of Greg’s photos from the show below:

The Story So Far Celebrates Autumn in Worcester

Posted on 10/10/2025 by Dan Moffat

By Cam Cavagnaro

The Story So Far throwing down at the Worcester Palladium

“This is the biggest headline show we’ve ever played in Massachusetts,” applauded Parker Cannon, singer of The Story So Far. The iconic Bay Area band set up outside the Worcester Palladium on October 2nd to ring in the autumnal equinox with Neck Deep, Origami Angel, and Pain of Truth.

The Story So Far have been touring for roughly 15 years, and they have made it clear that they have found their second home in Massachusetts. Despite being on the complete opposite side of America, the quintet has always given their performances a little extra oomph for MA. Ripping right into “Big Blind,” the lead single off their latest album, there was a palpable energy feeding from the crowd that reflected back off the stage. Palladium staff was immediately put to work with the waves of crowd surfers and the crashes only got larger as Cannon called out for “more stage dives, more circle pits.”

The setlist featured a great mix of songs from their entire catalog, even a reappearance of “If I Fall,” from their 2018 record Proper Dose, which they took out of their setlist for a period and brought back for this tour. There was a notable lack of songs from their 2015 self-titled LP, which the band only pulled one song from – the lead single “Nerve.” Despite this, the curation of the setlist was careful and methodical; plenty of front-loaded bangers transitioning toward a slightly relaxed back-half before their explosive encore ending “Quicksand,” their first hit song from 2011.

The most notable aspect of the show was the mixed bill lineup. All genres that comprise The Story So Far were thought of when putting the package together with Neck Deep, Origami Angel, and Pain of Truth. The ebbs and flows of hardcore/pop-punk cast a wide net of audience members, tying everyone together with their love of The Story So Far.

The fall tour wraps up on October 11th in Santa Ana, California. Be sure to check out I Want to Disappear in the USA, the first live album from TSSF.

Check out Cam’s photos from the show below:

The Beaches — Bigger and Better in Boston

Posted on 10/06/2025 by Dan Moffat

Review by Greg Wong

The Beaches basking in the glow at Roadrunner

Boston keeps showing up for The Beaches! Since their breakout success in 2023, the Canadian alt rock band has been greeted by steadily growing audiences upon each return, selling out shows at the Crystal Ballroom and the Royale. On September 24, the Massachusetts stop of the No Hard Feelings tour, The Beaches added Roadrunner to their streak of sold-out shows.

Accompanying The Beaches for the September leg of the tour was Debbii Dawson, an up-and-comer who some might recognize from Season 17 of America’s Got Talent. She wowed the crowd with her stunning vocals during her 30 minute opening set.

Since their 2022 headline tour stop at Brighton Music Hall, The Beaches might have come physically less than a mile to Roadrunner, but to fans who have been following along, the band’s real progress was apparent from the first note. Beyond the obvious upgrade in lighting and stage production befitting a venue of Roadrunner’s size, the evolution could be noted with a glance at the setlist. No Hard Feelings, this year’s punchy follow up to 2023’s Juno Award winning Blame My Ex, was the feature of the evening, but the new era of The Beaches has moved on from many longtime tent-poles of their live shows. Several beloved fan favorite songs like “T-Shirt,” “Desdemona,” “Want What You Got,” and “Money” were absent and “Grow Up Tomorrow” was the only song outside of the newest two albums. That said, the streamlined focus on new material was an appropriate emphasis on the interplay between the break-up album Blame My Ex and the subsequent crash out album No Hard Feelings. From the first chants of their rebellious opening anthem “Last Girls At The Party,” to the stripped-down live adaptation of the vulnerable ballad “Lesbian Of The Year,” through to the cathartic main set closer “Blame My Ex,” the crowd was along for the ride.

Despite a relentless marathon of touring and festival appearances over the last couple of years, The Beaches remain in excellent form. Their live performance was electric as ever and the fans were determined to reciprocate accordingly. Guitarist Kylie Miller conveyed The Beaches’ thanks to Boston fans, and she recounted seeing the crowd at their 2023 Boston Calling Music Festival set as the first indication that the band had successfully broken into the US scene. They have maintained that same support and more as they continue their rise, and Boston will continue to welcome them even when they’re the last girls at the party.

The Beaches and Debbii Dawson at Roadrunner 09/24/2025

Turnstile Topped a Bill of Relentless Energy at Suffolk Downs

Posted on 10/04/2025 by Andrew Bourque

Turnstile's Brendan Yates — Turnstile’s Brendan Yates

By Andrew Bourque

Photos by Wendy Schiller

Hot off of the start of their Never Enough Tour, named after their incredible new album, Baltimore based hardcore outfit Turnstile stopped by the Stage at Suffolk Downs with some friends for an energetic and relentless live show.

Boasting a total of 5 opening acts across their sprawling US tour, Turnstile brought along prog-pop artist Jane Remover, Aussie hardcore troop Speed and politically charged icons Mannequin Pussy for their Boston stop. A stacked lineup for punk fans everywhere, it was impressive that the crowd had any energy left by the time the main act took the stage, especially after the rallying cries and empassioned vocals of Mannequin Pussy’s Marisa Dabice. But the fans just kept on moshing right up until the very end.

Mannequin Pussy's Marisa Dabice — Mannequin Pussy’s Marisa Dabice

Kicking off with more of a soft-launch, Turnstile opens with Never Enough’s album opener and title track, before kicking things into much higher gear. Lead vocalist Brendan Yates swiftly moves between a more emo-toned down vocal and the shrieking yell that’s demanded by their discography, powering through fan favorites like “I CARE”, “HOLIDAY” & “BLACKOUT”.

The sea of writhing bodies punctuated by t-shirts sporting the words “I CARE” across the chest, perfectly encapsulates the vibe at a Turnstile show. While the music onstage and the tenor of the mosh pit may read as aggressive and violent, the kind, generous nature of Turnstile and their followers reveals itself when speaking to any attendee. Everyone’s either there for a good time, a distraction from the outside world, or a healthier method of coping & learning how to fight back. Perhaps all of the above.

Whatever the reason, it was a great night to come out into the marshes of East Boston and throw some hands with your fellow Turnstile fans.

Certain aspects of the venue left some things to be desired: sound quality varied depending on your position in the crowd, and poor groundskeeping created hazardous conditions. A couple of my friends kept tripping over/falling into “holes” in the ground amidst the pitch black crowded conditions. However, venue staff did keep lines moving and wait times relatively low across food/beverage/merch booths, plus the pleasant weather kept the ground nice and dry.

Check out our full gallery of shots taken by Wendy Schiller below! Turnstile continues on their Never Enough tour including shows with Amyl & the Sniffers and Blood Orange through October before wrapping up in Orlando, FL. For more information, click here!

Gigi Perez Takes the House of Blues on October 15

Posted on 10/03/2025 by Harry Gustafson

By Vika Brennick

Just a few months after lighting up Fenway Park as direct support for Hozier, Gigi Perez is back in Boston, this time headlining her own show at the House of Blues on October 15.

Perez has quickly built a reputation as one of alt-pop’s most compelling new voices. Her unique, masculine-leaning tone gives her music a timeless quality — the kind of songs listeners will hold onto long past her time. This year alone, she’s hit major stages opening for girl in red, and delivering standout main-stage sets at Lollapalooza and other major festivals.

Her 2025 debut album At the Beach, In Every Life released earlier this year is a project praised for its mix of vulnerable lyricism and self-produced sounds that feel so personal. She’s been named one of Rolling Stone’s “Pop Acts to Watch” and Billboard’s “10 LGBTQ+ Artists to Watch,” while delivering national TV performances on The Tonight Show and TODAY.

She briefly attended Berklee College of Music before leaving during the pandemic, so her returns to Boston always feel like a full-circle moment.

House of Blues offers the perfect setting to experience Perez up close, where her songs about love, faith, and grief cut right to the heart. Fans can expect favorites like “Sailor Song” alongside new songs from her new album.

Laura Stevenson Brings Instant Comfort to Sinclair

Posted on 10/03/2025 by Andrew McNally

Review and Photos by Andrew McNally

There may not be a single better night to see indie singer Laura Stevenson live than on the eve of the autumnal equinox. Stevenson’s music, over the course of her seven albums, has always maintained the feeling of an airy but ominous mood swing, not dissimilar to the gloominess that hits when you realize the days are getting shorter. It’s too blunt to call it sadness, and not even melancholy – more an acceptance that the next period may be rough. All of this to say, it was an absolute blast to see her come through the Sinclair on September 21st.

Up first on the night was Oceanator, a New York-based indie group that is also in the Quote Unquote Records circle that birthed Stevenson. The group played a number of cuts off their excellent 2024 album Everything Is Love And Death, including “Lullaby” and “Happy New Year.” The band played an exceptional complement to Stevenson, taking the same kind of lovely, indie melodies, but infusing them with energy and volume. It was one of the louder and wilder Oceanator sets I’ve seen, as both singer/guitarist Elise Okusami and bassist Toni Richards spent the whole set thrashing, bringing riffs and punk energy to the Sinclair crowd. As much as it may have been sonically different from the forthcoming toned-down Stevenson set, it was spiritually similar; a set of big, melancholic but joyously melodic indie tunes with stunning vocal turns.

Laura Stevenson and her band came out next, in a properly unassuming fashion. It was an abrupt entrance, with no music, no backdrop and no recognition. It was a low-key affair, even by her standards. Stevenson’s new album Late Great is one born through tough times in her personal life, and it’s among her softer records. It’s also possibly her best since 2011’s Sit Resist, a sparse and emotional record that leaves no feeling hidden or unchecked. The album – like most of Stevenson’s music – is focused on light guitar and heavy vocals, as her borderline-operatic singing voice and personal lyrics carry every song through luscious, scant instrumentation. All of this was presented at the Sinclair, as Stevenson kept the full set relaxed, even doing four songs solo. The crowd was minimal – chalk it up to a competing MARINA show, and/or Turnstile the night prior – but it made the set feel more personal.

Predictably, Stevenson pulled heavily from Late Great, playing nine of the album’s twelve songs, including “#1,” “Domino” and “Short and Sweet.” She opened with the new cut “Honey,” and closed with three straight from the album – “Late Great,” “#1 (2),” and “Instant Comfort.” She also touched on five of her other six albums, leaving only Resist off the list. Her four song solo venture in the middle of the setlist saw her play new song “Not Us,” as well as older tracks “Moving Cars,” “A Shine To It” and “Runner,” the latter of which is usually one of her livelier songs, but was pared way down for a haunting rendition. Even when the band was together and more locked in, the emphasis was on a laid back and cathartic set. That’s not to say it wasn’t fun, though, as Stevenson characteristically cracked jokes, including an impromptu diversion into the hand, foot and mouth disease her daughter has. She talked about cutting “Life Is Long” from the setlist, only to bump into a fan in CVS who specifically requested it. There was also a running joke of Stevenson introducing nearly every song as a sad one, which cut through the somber tone.

In an era of expansive stadium tours and $250 tickets, it can be refreshing to experience such a relaxed show. I’ve personally seen Stevenson at least ten times, and her voice always sounds just as magnificent live as it does on record, an impressive feat for someone who does not hold back in the studio. Her new album is an indie triumph, and the live show matches it. For those that trekked to Harvard Square, they got a beautiful, emotional and intimate indie show.

Check out Andrew’s photos from the show below:

Laura Stevenson and Oceanator at the Sinclair 9/21/25

DIE SPITZ Part the Sea in Boston

Posted on 10/02/2025 by Andrew McNally

Review and Photos by Cam Cavagnaro

DIE SPITZ melted the 3,500 faces at Roadrunner Tuesday night September 23rd, opening for Viagra Boys as they both celebrated the release of their new records. Their debut studio album Something to Consume was released on September 12th via Third Man Records.

Right out of the gate, the Austin-based group made it clear their goal was to kick ass and chew bubblegum – and they were fresh out of bubblegum. Without a single word, guitarist Ava Schrobilgen drove into the riff of “I hate when GIRLS die,” which can only be described as a pseudo B-side to “Dopesmoker” with a fresh tank of gas; the sheer volume alone was enough to kill a man. Opening bands have the difficult job of warming the crowd up for the headliner, but DIE SPITZ made it look easy with their virtuoso and intensity. During just their second song, they demanded the crowd split into two halves and prepare for a wall of death (possibly the first at Roadrunner since its opening in March 2022).

Aside from the energetic and remarkable performance, it is refreshing to see an entirely femme-presenting band open for an all-male headliner. Viagra Boys have never shied away from their sarcasm and opinions on world politics, but it’s much better when you see those words put into action. DIE SPITZ is a refreshing taste of what the next generation can create, and it will be very exciting to see what they do next with the limitless possibilities they have set up for themselves.

DIE SPITZ will be back in Boston on November 16th, headlining the Sinclair in support of their excellent blood-curdling debut album.

Check out Cam’s photos from the show below.

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