Evan Honer Headlines the First Boston Rodeo

Posted on 09/30/2025 by Ben Bonadies

Photos and review by Greg Wong

Festival goers line dance in City Hall Plaza

The inaugural Boston Rodeo took place at City Hall Plaza on Saturday, September 20th. The daylong event featured Professional Rodeo Cowboys Association (PRCA) sanctioned rodeo events and live music performances from both local and nationally-touring artists. Rising independent folk artist Evan Honer headlined a main stage billing that also included Kassi Ashton and the O’Connor Brothers Band.

The rodeo and local performances took place in the late afternoon to start things off. The small side stage showcased local performers like Brennan Burns and was situated adjacent to the vendor alley where attendees on the lookout for food, cowboy apparel, or even the mechanical bull were more likely to wander over. The pro rodeo events took place on a fenced-in dirt arena that had been constructed in the very center of Boston’s city hall plaza, but the competition was completed by 5:30 pm, well ahead of the full scheduled time. The entertainment then switched over towards line-dancing, and it was apparent that the event had drawn in a healthy crowd of dance enthusiasts. Meanwhile, the busy work of shifting the focus entirely towards the live performances began, and the arena fencing was dismantled to open the space to the main stage crowd.

Attendance fluctuated a bit after the rodeo finished and the livestock were transported away, but once the crowd stabilized it remained largely consistent for the remainder of the event. By 6:40, the five piece Coloradan rock band the O’Connor Brothers Band took to the main stage for the first of three evening sets. They made their Boston debut with a 50 minute set. Country singer/songwriter Kassi Ashton followed with her hour-long set and both performances were enthusiastically received by a crowd that spanned a respectable distance back onto the dirt patch where the rodeo arena had been. Hailing from the small town of California, Missouri, Kassi Ashton joked that the crowd in front of her was equivalent to the entire population of her hometown.

Evan Honer front-flipped his way into position on stage and seized the once-in-a-lifetime opportunity to greet the crowd with “I’m Evan Honer and this is literally my first rodeo.” He closed out the night with a set that overcame a late start and some unlucky technical difficulties; he broke a guitar string during the first song and had to swap guitars a few times during the first several songs. Nevertheless he powered through with an endearing charisma and treated fans to a roughly hour-long set that highlighted songs from his brand new album Everything I Wanted, a cover of The Cranberries’ “Linger,” and a Tyler Childers “Jersey Giant” cover that earned him the viral success that kick-started his career. He performed as long as he was able to, up until the concert ran into the hard curfew of 10:30, at which point he was obligated to wrap things up quickly. With Evan Honer’s worthy finishing set, the first Boston Rodeo concluded on a high note that may portend more to come.

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

Boston Rodeo at City Hall Plaza 09/20/2025

Soccer Mommy, Evergreen at Paradise Rock Club

Posted on 09/29/2025 by Ben Bonadies

Photos and review by Greg Wong

Soccer Mommy onstage at the Paradise Rock Club

Friday September 19th saw the return of Sophie Allison, aka Soccer Mommy, to Paradise Rock Club. She led a night of solid indie rock with the Los Angeles based outfit Dummy in tow.

Dummy’s opening set was a lo-fi, somewhat psychedelic welcome, complete with trippy kaleidoscopic visuals projected over the 5-piece band. The majority of the crowd had filled in the ground floor of the venue by the time Dummy wrapped up their well-received time on stage. Soccer Mommy followed up with a characteristically understated yet effective headlining set to a delighted crowd.

Since her last performance at Paradise Rock Club in 2021, Soccer Mommy has essentially doubled her repertoire with the release of her 2022 album Sometimes, Forever and her newest album Evergreen. A fair number of highlights from early Soccer Mommy albums Clean and color theory ensured that the older work was not neglected, however. The setlist was a specific balance of old and new material: Evergreen comprised half the set, early tracks from Clean represented a quarter of the list, and color theory and Sometimes, Forever countered each other in the middle of the discography sandwich with a couple songs each.

For good measure, the perennial fan-favorite song “Henry” from the Soccer Mommy demo album For Young Hearts also made a familiar appearance on the setlist. The album-hopping experience was fortunately not a disjointed one, as Sophie Allison’s consistently honey-soft vocals served as the constant thread holding things together. The audience, while never raucous, was fittingly present and bobbed along contentedly to the music. In short, there was little distraction from the core attraction, and it was everything one might hope for in an intimate Soccer Mommy concert.

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

Soccer Mommy and Dummy at Paradise Rock Club 09/19/2025

MARINA Sparkles In Boston

Posted on 09/26/2025 by Photo Editor

Review & Photos of Mallrat by Samantha Davidson

MARINA Danica Robinson — September 21st, 2025. MARINA performs at Roadrunner in Boston, MA. *Photo by Danica Robinson.*

UK pop icon Marina Diamandis, stylized as MARINA, emerged from her chrysalis at Boston’s Roadrunner on September 21st. She is currently on The Princess of Power Tour in support of her new album of the same name, which is a clever play on the word “pop,” the genre MARINA has pioneered throughout her career. This show undoubtedly marked Roadrunner’s best-dressed outing, as fans fluttered into the venue ready to walk the runway. There was an array of handmade pieces and elaborate costumes, including angels with tiaras and wings, ballroom dresses with hoop skirts, and pastel pink ensembles adorned with mesh butterflies. One fan cleverly created a pink floating ribbon headband that read “Cuntissimo,” after one of the album singles, fashioned in the same dainty ribbon font MARINA used on her album cover. Fans fostered a community of joy and celebration long before the music began, trading kandi friendship bracelets with one another and sharing stories about how MARINA’s music has impacted them.

Mallrat Samantha Davidson — September 21st, 2025. Mallrat performing at Roadrunner in Boston, MA. *Photo by Samantha Davidson.*

The lights dimmed, and Australian indie-pop-electronica artist Mallrat kickstarted the show. She skipped out in sleek black gloves, a distressed black corseted dress with a white cat on the front, black boots, and a crisp pair of white headphones. Fans were instantly mesmerized by her airy voice, swaying along to the music. Tracks like her dreamy latest single, “Ray of Light,” made the venue feel like it was floating, with textured production and her glitchy falsetto vocals. Some fans in the front row enthusiastically held up copies of her signed vinyl, which they had just picked up at the merchandise station, making sure Mallrat felt the love. She had a DJ booth behind her, where an adorable stuffed gnome plushie and a neon green dog plushie sat. Between songs, her DJ would hold up the green dog and blow a kiss to Mallrat, eliciting roarious cheers and adding a charming whimsy to the performance. Toward the end of her set, she sang a heavenly cover of “Radio” by Lana Del Rey and her smooth voice perfectly complemented the song. By selecting a well-known cover, even fans hearing her music for the first time could enthusiastically sing along, creating a lasting impression and connection with her music.

The between set playlist honored the pop genre as a whole, ranging from classics like “Dancing Queen” by ABBA to supporting breakthrough artists via tracks like “Leave Me Alone” by Reneé Rapp. When the lights finally dimmed again, thousands of fans released a thunderous applause. A video reminiscent of an 80s 8-bit game played on the screen, showcasing characters from each of her eras, and mysterious levels that Boston would encounter throughout the night. A voice recording from MARINA came across the speakers, revealing a storyline that followed an intergalactic princess butterfly “born of stardust” on a quest to “unlock her ultimate form.” She emerged in a sequined hot pink body suit with sparkling silver fringe extending down each arm, accentuating the fluid arm choreography she employed during each song. She dove into the track “PRINCESS OF POWER,” singing into a mic stand covered in a structured material fastened to look like a floating pink ribbon spiral. Her vocals sounded exactly like the studio versions of each song, a notable feat considering her signature octave-defying songwriting style.

MARINA confidently strutted around the stage during each song, flushed in soft blue and pink lighting, holding the audience in the palm of her hand. Some particularly enthusiastic young fans couldn’t help but scream how much they loved her between each song, shrieking with joy when “Butterfly” began to play. Performances of tracks like “I Am Not a Robot,” “Venus Fly Trap,” and “Primadonna” reminded fans of the empowering nature of her discography. The star took a moment to express her gratitude to the fans and acknowledge the power of music, saying “So many of us go through these times when we feel like we need support from other people and music has always done that for me, what ever I have been able to give to you, you have given the same back to me.”

Toward the end of the setlist, she hosted a fan pageant, inviting best-dressed guests on stage during the electric and empowering track “CUNTISSIMO.” They had the opportunity to dance and sing along, with the crowd ultimately deciding that the fan dressed as an ethereal Cupid was the winner. The pageant was a brilliant way to create a special moment for fans in each city, honoring their enthusiasm and sending them home with a personalized, signed setlist. She closed the show with the celebratory track “I <3 YOU,” projecting the word “WINNER” across the screen. By transforming the show into a game of self-discovery, with levels like “The Cocoon,” “Familiar Hells,” and “Party Paradiso,” she created an interactive storyline for fans to experience as well. Make sure to catch MARINA live before The Princess of Power Tour ends in November. Buy tickets here.

Check out all of Samantha’s photos from Mallrat’s set below.

Freaking Out Boston: Mac DeMarco

Posted on 09/26/2025 by Dillon Riley

Photos and review by Kenneth Palacios

Mac Demarco at Roadrunner shot by Kenneth Palacios — Mac Demarco at Roadrunner

With a laid-back style and people packed up in every aisle, Mac DeMarco sold out Roadrunner on his fifth stop of the tour on September 9th, 2025 in support of his latest album, Guitar. Around the venue, people lined up and wrapped around the block, waiting for Mac to bless their ears and souls with unforgettable music and even more unforgettable dialogue in the middle of each song.

People rushed to get the best seats in the house, finding their way to the barricade for those who wanted a lower angle while others found themselves moving up to the upper floor for a view on one of the balconies – all of them getting ready to get the best glimpse of Mac on a beautiful Tuesday night.

Opening out the night, we had DeMarco’s bassist, Darryl Johns, who energized the crowd with echoes bouncing off the walls throughout each song like the screams of the crowd, with pieces that slow down and pick back up like a rollercoaster sending you all over the place. The last couple of seconds of each song would end out with fast and dramatic finish, segwaying right into the next song with minimal notice and and an event more unnoticed fade into another track. Repetition was a staple, the way the phrases would build on each other. Not only that, but Darryl would occasionally echo a nice wide scream in the middle of the song and as the band jammed out, it would fade into nothing while the band built up into way more. This opening act for Mac delivered a unique and vibey performance, blending calm R&B and hard crashing elements together. With their soundscape-like music, they captivated the crowd, building anticipation and energy for the next set and preparing the fans for what was next.

Darryl concludes his set with his final echoes and walks off stage, leaving the venue pulsed with an electric buzz. Conversations arose and swirled throughout the atmosphere, flowing with laughter, shouts, and speculations about Mac DeMarco’s upcoming set. The air became thick as more and more time passed, with people more than ready for what was about to be put in front of them. A little more conversations as house music played with people shifting and moving on their feet and recounting the moments from the opener. It wasn’t just quite a pause between sets but rather a breath for people to process everything that they were going to see that night. The clock hit 9:15 PM and the lights dimmed and the crowd went silent for one second and then roared the next. Enough time passed and it became time.

Mac opened up his set with Shining, the first track off of his recent release, Guitar. The lyrics rose up as the crowd sang along and chanted along to ask if the “sun is still shining down on her” as the stage lights made the room not much brighter than the tone of Mac’s voice and band. His voice is so soft and light, filling the room and making the air settle down. While fans enjoyed his most popular songs like “For The First Time” and “Heart to Heart”, fans of the new album and of his oldest stuff were all satisfied with this set, with songs like “Salad Days” and “Passing Out Pieces” bringing us back to his album, “Salad Days” from 2014 and tracks from his newest album like “Sweeter” and “Phantom” all being played in the first half of his set. People all around the room enjoy the moment, phones holding phones in the air, eternalizing the moment or holding their loved ones close – everyone united by their love for DeMarco’s music. Every single song ends off with a hit that holds out as the crowd screams and chants, ecstatic for more.

With anticipation and people guessing the next songs, Mac would surprise his fans with different and extravagant moves and words. This whole tour, Mac has been meeting his crowd in the middle of his songs with people screaming out ridiculous things at him and he replies before beginning his next song. Sometimes, he is being asked to “lift his shirt up” or calling Boston “pigs” for wanting that to happen. Or he is the one speaking out, and sends fans into laughter as he says “This place is hell, I’m Satan.” Regardless, he lifted his shirt up as he has done at countless stops on the tour.

As he reaches the end of his set, he plays “Freaking Out The Neighborhood”, but he’s just getting ready to freak out the room and was met with a memory and a surprise for everyone in the room. A fan by the name Danny, who later reported using a sub wrapper from earlier to write to Mac to let him go up on stage and play with him, was called up onto the stage and performed “My Kind of Woman” on the bass, where he was then sent off and loved by fans.

Closing out the night, we hear the last notes of “Chamber of Reflection” and this constant use of ringing out and letting echoes breathe hears its final notes. Fans prepare to end the night, ready to leave and slowly but surely start moving to the exit while others stay at the barricade, prepared for an encore. Mac then comes out, surprising those who didn’t think there would be an encore, but turned around quick to witness his final song as those who knew stayed ‘till the very end and enjoyed the encore, “Nobody”, sending off his fans stunned and with memories that will last for a lifetime.

Check out the rest of Kenneth’s photos below

Big Wild, Big Energy at the House of Blues

Posted on 09/26/2025 by Dillon Riley

Photos and review by Greg Wong

Big Wild at House of Blues Boston shot by Greg Wong — Big Wild at House of Blues Boston

Electronic multi-instrumentalist Big Wild, aka Jackson Stell, brought his Wild Child tour to Boston on Saturday September 13.

The evening at the House of Blues could best be described as a vibey dance party, with an effective opening EDM set from Shallou to warm the crowd up. With his work complete and the crowd moving, Shallou’s short set gave way to the main event, and Big Wild was able to keep the momentum seamlessly. Backed by his small band, Jackson Stell took to center stage and fluidly alternated between the instruments arrayed around him.

The project’s third album, Wild Child was the primary feature of the night. A direct response to the self-serious creative process that forged his sophomore album The Efferusphere, Wild Child is a deliberately lighter, more freewheeling journey. The album’s particular focus on reconnecting with joy and playfulness translated into the live show. Danceable and high energy but never frenetic, the music was in a word, effervescent, and the crowd was drinking it in the whole night. While the audience up front was packed together in a bouncing aggregate of raised hands, couples and singles could be spotted having their own dance party in the back of the room. If the goal of the Wild Child tour was capturing and conveying a childlike freedom and unpretentious creativity, Big Wild can claim mission accomplished.

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

Big Wild and Shallou at House of Blues 09/13/2025

PUP and Jeff Rosenstock Bring a Triple Dose of Friendship

Posted on 09/25/2025 by Andrew McNally

Review and Photos by Andrew McNally

We all take art for granted. Art can question, overwhelm, punish, and heal. It can answer questions you didn’t know you had. And in the case of PUP and Jeff Rosenstock’s A CATACLYSMIC RAPTURE OF FRIENDSHIPNESS!!! tour, it can challenge your own preconceived notions of an artist themselves. Although both acts are known for frenetic and wholesome live shows, neither artists’ music is exactly known for being upbeat. But this tour, which hit Roadrunner on Monday, September 15th, was all about optimism and good times. To say it was a rousing success is to put it mildly.

Up first on the night was Ekko Astral, the excellent and absurdly critically-acclaimed rock band out of Washington D.C. Although their music is not as raucous as that of the double-headliner, it was a perfect fit as an opener. Astral got the crowd thrashing and set the tone for a tightrope night of political anger but positive community. It helps that a significant portion of the crowd was excited for Astral, too, coming early and already knowing the songs. It also helped that the band managed to pull off a massive Wall of Death for the crowd on the floor. The band mostly played cuts from their 2024 debut pink balloons, but ended with three new ones, including “Capital Riot.” As a one night only surprise, they brought out Pudding favorites Perennial to sing along, bringing that Perennial energy along with them.

DIY punk legend Jeff Rosenstock was on next, and you can never know what he’s going to play on any given night with very few exceptions. On that night, it was a pretty even split, as Jeff and company played three songs from each of his five proper solo albums (SKA DREAM was left untouched). He also tossed in early solo classic “Twinkle” and one Bomb the Music Industry! song, “Future 86.” For any fellow BTMI!-heads, even just one song getting played is a revelation. But on a night where bands were constantly coming together, it made sense, as the tune has a huge group-singalong chorus. The show was predictably raucous, with the whole band careening across stage while playing wild tunes like “You, In Weird Cities” and “Liked U Better.” Rosenstock also did an improv rewrite of 2020 hit “Scram!” to wish bassist John DeDomenici a happy birthday, which caught John off-guard. (I’ve now seen this crew so many times that this was my second John DeDomenici birthday show). Rosenstock has no new material since his last tour, so his inclusion here was just a no-stakes, high-energy play-the-hits set, and the crowd at Roadrunner loved every second of it. He yet again cemented himself as a leading live artist.

Unlike Rosenstock, PUP does have new material: their great, newly released fifth album Who Will Look After the Dogs?. The Toronto indie-punk group played six songs off the album, including set opener “Hunger For Death,” “Concrete” and “Hallways.” They played at least one cut from each of their previous four albums, including crowd favorites “Kids,” “Scorpion Hill,” and “If This Tour Doesn’t Kill You, I Will,” with singer Stefan Babcock joking that he no longer shares that song’s sentiment. The venn diagram of PUP and Rosenstock fans is pretty much one circle, so the fans were just as excited for PUP and kept their energy going. The true focus of the night stayed on friendship, which quickly became comical during “Hunger,” which has the lyric “Fuck everyone in this venue, especially me,” as Babcock gave a double bird to the fans. But later on, Babcock took a minute to address how wholesome it is to sing such pessimistic lyrics yet be able to get a full 3000+ crowd together to chant for trans rights and a free Palestine. The band’s set was more grounded than Rosenstock’s, but just as energetic and fun. In light of, and in spite of everything, this show was purely optimistic and communal.

Late in the set, Babcock started a solo rendition of “Shut Up” before a crudely-made banner reading “DOUBLE BAND” was hung behind him. All of PUP and Jeff Rosenstock’s band came out to do four songs – “Hey Allison!” and “We Begged 2 Explode” by Rosenstock, and “Get Dumber” and “Reservoir” by PUP. Finally, they brought Ekko Astral back out for a triple band version of Alanis Morissette’s “You Oughta Know.” It was pure chaos, as Babcock and Rosenstock did microphone tricks while the Astral folks threw themselves around the stage. The three bands managed to make the song feel like an inside joke that everyone in the crowd was in on, an incredible end to a night centered on community. As the bands left the stage, “I Love It” was pumped through the speakers and probably 100 people stayed behind for a dance party. Music can keep us sane, and we all need nights like this to remind us that love will always win.

Check out all of the photos from the show below!

PUP, Jeff Rosenstock, and Ekko Astral at Roadrunner 09/15/2025

Intac Accrue Interest with New Single “Banking On Love”

Posted on 09/25/2025 by Ben Bonadies

By Ben Bonadies

Intac performing at Allston Pudding’s Zone 3 Summer Concert Series, August 21, 2025. Photo by Harry Gustafson

At first blush, you might mistake Somerville’s Intac as a farcical conceptual art project before you think of them as a band. Their live shows are “presentations” and feature Microsoft Powerpoint visuals and a man with a computer on his head. Their fans on Patreon are “shareholders” in an independent music corporation. While it makes for a heady extramusical stew, it’s Intac’s sharp songwriting and tasteful production choices that make the corpo cosplay and antic theatricality feel like value-adds in what can be a self-serious and dour indie rock scene.

The band, made up of at least Bill and Lucas Restivo, is prepping their fourth (!!!) album of 2025 God is Time, Time is Money, and the Money’s Long Gone, which is due out in November. Today, they’ve shared the first single “Banking on Love” with an accompanying video.

The song started first with the title (Bill says a great many Intac songs began their lives this way) sent in a text message. Originally released in a stripped back acoustic style tracked straight to tape, the full band version ups the tempo and amperage to glorious garage rock heights.

The lyrics are classically Intac–folksy couplets that are as funny as they are true to our late-capitalist hellscape. The band has an anarchic sense of humor—one of their most popular songs is called “I Want to Fight Oscar Isaac”—but that’s a feature, not a bug. “We’re open to being too funny,” Bill said, “and we’re open to being too serious.”

Still, they’ve had to develop a barometer for when their clownish impulses overpower the music. “We don’t want to be a joke,” said Lucas, recalling sets where they hardly played any songs at all. “We have been doing this thing when a presentation is going maybe not as good as we hope, we unconsciously slip into ‘Loser’ by Beck,” Bill said. “Banking On Love” cheekily interpolates the chorus from Beck’s slacker hit as an ode to this tendency.

The accompanying video for “Banking On Love” features clips from the band’s latest streak of performances–including at Allston Pudding’s Zone3 Summer Concert Series. Watch the video below, and get the song on Bandcamp!

God is Time, Time is Money, and the Money’s Long Gone artwork by Benji.

The Modern British Invasion: YUNGBLUD Conquers the USA

Posted on 09/24/2025 by Photo Editor

Photos & Review by Samantha Davidson

YUNGBLUD Samantha Davidson — September 19th, 2025. YUNGBLUD performs “Hello Heaven, Hello” on the *IDOLS WORLD TOUR* in Boston. *Photo by Samantha Davidson.*

English pop-punk alt-rock powerhouse Dominic Harrison, who releases music under the moniker YUNGBLUD, stopped by Boston for an electric celebration of live music on September 19th. The star embarked on his sold-out IDOLS WORLD TOUR in August, making stops across the West Coast before trekking to the East Coast as fall rolled in. Boston marked the last date of the US portion of the tour, heightening everyone’s anticipation of the night. Fans in Converse heels and sheer black tights with bats embroidered on them strutted inside the venue. The audience in Boston was a testament to Harrison’s universal appeal, with fans ranging from preteens holding signs that revealed it was their first concert to guests in their seventies adorned with skull-patterned scarves.

Soulful rock artist Sawyer Hill kickstarted the night with bold and raspy vocals. He sauntered onto the stage in a leather jacket and bell-bottom jeans, whipping his long curly locks away from his face. The star graced Boston earlier this year for a headline show in April at The Sinclair. This larger audience did not intimidate him as he effortlessly mesmerized the crowd with his low and hearty voice during songs like “High On My Lows” and a cover of “Folsom Prison Blues” by Johnny Cash. After his set, he visited the merch booth to take photos with fans. He took the time to get to know each person in line, showing genuine interest in every fan.

Soon after, the lights dimmed again, and fans began to scream with excitement. Strobing lights ushered Harrison to the stage as he dove into the whopping 9-minute track “Hello Heaven, Hello,” setting the bar impossibly high. His performance surpassed all expectations, especially since he had to cancel the previous night’s show due to sickness. His energy was limitless as he jumped over four feet into the air throughout the song. He sported a sleek leather vest, chaps with a statement cross belt buckle, rounded sunglasses, and silver cross jewelry, completing his grungy look. He quickly shed the vest during the first song as the sweat began to drip, pouring water on his head and tossing it into the audience with a flirty smile. Harrison held the venue in the palm of his hand: when he said “jump,” they asked “how high?”

Toward the middle of the night, he called a fan on stage to play guitar on “fleabag.” She rushed on stage and Harrison embraced her with a loving hug, displaying the deep connection he has with his fans. She grabbed his guitar and shredded with the band, whipping her hair and soaking up the moment. Harrison dipped down to the barricade and started climbing onto the crowd. Fans swarmed to the center and extended their hands to hold him up as he emphatically finished the song, pumping his fist to the beat.

The most passionate moment of the evening was his cover of “Changes” by Black Sabbath. About one week earlier, Yungblud executed a charged VMAs performance honoring the late frontman of the band, Ozzy Osborne, who is just one of the many major rockstar co-signs Harrison has racked up. Harrison teared up throughout the song, feeling the love from the room as the crowd thrusted their sign of the horns in the air and sang so loud that “Ozzy can hear us,” Harrison remarked.

This stop on the tour also marked the release day of “My Only Angel,” the lead single from Harrison’s collaboration EP with legends and Boston natives Aerosmith. He made the live debut of the song, effortlessly belting each note into the mic over an hour into his set, a testament to his stamina. He returned for a final encore, leaving everything on the stage with the heartfelt track “Zombies,” a cathartic ending to the night. Harrison crafted a raw show, weaving high-energy tracks with emotional moments and leading with his addictive authenticity. After witnessing this performance, it is clear how he has carved a loyal community of fans who admire his overflowing talent and cheeky energy. Make sure to catch YUNGBLUD live before the IDOLS THE WORLD TOUR ends in April. Buy tickets here.

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

Wet Leg Rubs Boston the Right Way

Posted on 09/23/2025 by Photo Editor

Photos & Review by Samantha Davidson

Wet Leg Samantha Davidson — September 14th, 2025. Wet Leg performs at Roadrunner in Boston, MA. *Photo by Samantha Davidson.*

English indie rock duo turned five-piece band Wet Leg rocked a sold-out Roadrunner in support of their second studio album, moisturizer, on September 14th. Founding members Rhian Teasdale (vocals, guitar) and Hester Chambers (guitar), joined by Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums), returned to Boston for the first time since 2023 to deliver a high-energy show. At doors, fans flooded into the venue and proceeded straight to the merchandise tables, extending the line up a few flights of stairs. Designs included a t-shirt with a swamp angel creature in the same pose as Teasdale on the moisturizer album cover and a precious cartoon guinea pig tote bag. The preshow playlist energized the crowd with artists like Tame Impala and M.I.A getting people dancing.

At 8:00 pm, Mary in the Junkyard kicked off the show. Lead singer Clari Freeman-Taylor strutted out in a plaid dress with her short blonde hair in two pigtails. She captivated the crowd with her smooth, light vocals that contrasted with the gritty instrumentals. The group seamlessly blended a bedroom pop sound with eerie rock. During the third song, bassist Saya Barbaglia opted for a haunting viola, shredding a tremolo playing style. Dark yellow, green, and purple lights backlit the band, adding drama to their set. Freeman-Taylor sang with her native English accent, charming the crowd. Introspective and vulnerable tracks like “tuesday” and “this is my california” formed a connection with the audience. Their set clearly resonated with fans, who cheered not only when it ended but just as loudly when the band tried to sneak back on the stage to help break down their equipment during changeover.

Between sets, an audio message from Wet Leg came across the speakers alerting fans that they had the chance to win a signed setlist by supporting The Ally Coalition, a group that supports the LGBTQ+ community. Soon after, members of the band’s team handed out eye dilation glasses to the front row to protect them from the bright strobing lights, foreshadowing the deliciously intense night ahead.

The lights flashed red, and the members of Wet Leg strutted on stage. Teasdale emerged silhouetted, walking toward the mic while flexing her toned arms at the crowd. She has been wearing different cheeky tank tops each night, with Boston’s reading “Happiest girl in the world” printed in baby pink on a dainty floral pattern. The band was greeted with thunderous applause as they dove into the electric track “catch these fists.” They had an instant command of the crowd, radiating confidence and a contagious freeing energy, enabling fans to relax and dance. They performed their viral hit, “Wet Dream,” next, with Teasdale grabbing a transparent green guitar that resembled a Jolly Rancher. Bandmates Chambers and Holmes bounced energy off each other toward the back of the stage, shredding their signature sharp and hard-hitting instrumentals just outside of the spotlight on Teasdale.

The song “Ur Mum” was a particularly cathartic moment of the show, with the band pausing to have the entire venue scream for at least one minute, the longest scream Roadrunner has witnessed in its three-year history. During the tender track “davina mccall,” couples slow-danced in the back of the pit, displaying the spirit of a Wet Leg live show and how it can effortlessly showcase the dichotomy of the human experience. They held the energy high the entire night, closing out the show with the same level of passion. Toward the end of the night, during “Chaise Longue,” Teasdale changed the lyrics to reference some fans in the audience. She sang, “Hey you, in the front row / Are you coming backstage with your worm after the show?” to some fans holding a giant crochet worm and wearing “We <3 Worms” shirts on the barricade, a special moment that displayed their connection with their fans.

Wet Leg crafted a killer show with a setlist that spanned fan favorites, hits, and deep cuts. The punchy lighting production matched their charged performance styles, creating an unforgettable show. Make sure to catch Wet Leg before north american moisturizer 2025 ends in December. Buy tickets here.

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

Screaming Out the Rage with Mannequin Pussy

Posted on 09/18/2025 by Ben Bonadies

Words and photos by Emily Gardner

Punk-rockers Mannequin Pussy rolled into Providence on Friday, September 12th, joined by the always energetic Gouge Away as support. Both bands complimented each other well with political messages crammed into each song. After the week that led up to it, the show couldn’t have met the moment better.

Gouge Away’s front woman, Christina Michelle, bounced, screamed, and swayed around the stage while the band performed. Michelle gave the audience an explanation before some of the songs, stating that their music has always been political. “That song was about abortion, which should be available to everyone,” said Michelle after their song “Idealized. “Consider” followed, which was described as a song against ICE. Stage diving is notoriously not allowed at the Fete Music Hall, which made this show have a different energy than other Gouge Away sets, but this didn’t stop Michelle from engaging with the crowd as much as possible. During the last song, she leaped into the mosh pit to the surprise of the crowd. The set was the perfect warm-up for Mannequin Pussy, who weren’t shy to share their similar political beliefs.

When the lights went down to welcome Mannequin Pussy on stage, Lead singer Missy Dabice sauntered out to a NLE Choppa song wearing a tight black corset and knee-high black boots. The band played some of their more pop-esque songs from their newest record, I Got Heaven, to get the set started. However, a couple tracks in, Dabice assured the crowd that they’d be getting into their heavier hits for the rest of the night. With that statement, the energy shifted. The sound got louder, Dabice’s soft voice turned harsh, and the band kicked into high gear. MP launched into their two biggest hits at the moment, “Loud Bark” and “I Got Heaven” with the crowd shouting every lyric back to them. At about the halfway point of the set, the band left the stage except for Dabice and guitarist Maxine Steen. Dabice used the break to share her viewpoints on capitalist America, white supremacy, and the war on Palestine. The crowd was encouraged to shout a primal scream and the whole room let out a deafening shriek. The set felt like a group catharsis, people letting go with the help of music. If this was the mission of Mannequin Pussy’s tour, consider it a successful one.

Check out the rest of Emily’s photos here.