Jonny Tex Takes You Out To Pasture

Posted on 09/17/2025 by Dillon Riley

AP Presents Jonny Tex and Megan From Work this Sunday

While the “Tex” in Jonny Tex definitely stands for the man’s Lone Star roots, Jon Wallis has carved out a nice little space for himself in the Boston underground. Making time in a variety of bands (including AP faves Pew Pew to name just one) and a stint at America’s greatest bar State Park, he’s known around town as, in a word, a good hang. Wallis also fronts his own semi-eponymous group Jonny Tex who play both kinds of music: alt country and post-punk. We here at Allston Pudding are pleased as punch to be premiering their debut double A side single Heifer / Cherubhead today.

A treatise of sorts on the tantalizing yet dangerous allure of organized religion delivered from a former youth-pastor-in-training turned indie rocker, Tex uses western iconography to tell a complicated tale on the groovy porch-rocker “Heifer” and then turns up The Fall influence to paint a vivid crisis of faith on the toxically masculine, shit talk-singing “Cherubhead”. Tex’s band (which features plenty scene leading lights in their own right) meet his thematic staging head on, circling the wagons with twangy swagger on the former and some fidget-y swing on the latter.

Press play on the very first Jonny Tex tunes below.

<a href="https://jonnytex.bandcamp.com/album/heifer-cherubhead">Heifer / Cherubhead by Jonny Tex</a>

Heifer / Cherubhead is out now, grab a digital copy here. Jonny Tex plays an Allston Pudding Presents show alongside Megan From Work at the Elks Lodge in Brighton Center this Sunday, September 21st directly after the Brighton Bazaar. You can get tickets at the door.

The Black Parade and A Full Moon: My Chemical Romance In Boston

Posted on 09/15/2025 by Photo Editor

Photos & Review by Samantha Davidson

My Chemical Romance Samantha Davidson — September 7th, 2025. Gerard Way, lead singer of My Chemical Romance, performs at Fenway Park. *Photo by Samantha Davidson.*

Alternative rock behemoth My Chemical Romance stopped in Boston on Sunday, September 7 to celebrate their beloved album The Black Parade. The band, comprised of Gerard Way (lead vocalist), Mikey Way (bass), Frank Iero (guitar), and Ray Toro (guitar), conquered a sold-out Fenway Park. The show marked the second-to-last date of the “Long Live” The Black Parade North American Stadium Tour, and fans were buzzing with excitement. A full moon shone over the city as a sea of red and black outfits flooded into Fenway.

When the lights finally dimmed, the eerie track “Tonight You Belong to Me” by Patience and Prudence played on the speakers, ushering Boston into a night of mayhem and musicality. Fans cheered as the sound of military drums played on a group of soldiers and clerks dressed in suits who set up a time-card check-in table. The band strutted on stage and clocked in for their shifts in ‘Draag,’ a fictional world they crafted when they released The Black Parade album almost 20 years ago. They wore black and white military marching band jackets and white makeup, with three defined scratches on Gerard’s right cheek.

They started their set with the eclectic track “The End.” Gerard thrusted the mic into the air and smiled as fans emphatically sang along, headbanged, and crowdsurfed. The band bounced energy off of each other, thrashing to the beat and scaling the stage during each song. They proceeded to perform the entire album in order from start to finish, a fitting celebration for a piece of music that shaped the lives of many fans in the audience. During the second song, “Dead!,” Toro shredded its featured guitar riff live for the first time since 2011, foreshadowing the euphoric and special night ahead. Then a podium appeared on stage before the hit track “Welcome to the Black Parade.” Gerard stepped up to the mic as the iconic piano opening notes lit the crowd up with cheers. His powerful vocals reverberated around the venue, filling it with a bright and raw energy that mesmerized Fenway during emotional tracks like “Cancer” and energizing tracks like “Famous Last Words.”

During the first half of each show, My Chemical Romance has been acting out scenes as characters from the fictional band, ‘The Black Parade.’ Especially dedicated fans have been keeping track of these stories and theorizing the meanings behind them. Some believe the band is stuck in a ‘time loop,’ making Boston one of the most important and theatrical shows of the tour due to the new characters and storylines. They introduced a new clerk dedicated to monitoring the original clerk and a new opera singer named Sylvia, who performed the “Dagger” outro after “Mama.” They also infused humor and horror into the set. Instead of one of the clerks slapping Gerard like usual, Mikey caught his hand. After playing through the album, the audio of the bonus track “Blood” played, accompanied by a clown character marionetteing Gerard’s ‘corpse,’ shocking fans.

After completing the album playthrough, they transitioned to a B-Stage toward the middle of the field. They opted for more casual outfits like Gereard’s camouflage-patterned jacket, and dove into hits and deep cuts from their expansive discography. As mentioned earlier, it happened to be a total lunar eclipse also known as a “blood moon,” inspiring the band to make the tour debut of fan favorite track “Vampire Money” and the “double vampire” treat of performing “Vampires Will Never Hurt You” as the show closer. Pyrotechnics, elaborate costumes, and deliciously dramatic performances transported Boston to the Draag Regime and made Sunday a spectacle to behold. While the “Long Live” The Black Parade North American Stadium Tour may have come to a close on September 13, stay tuned with the band here so you don’t miss their next electric live performance.

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

No Hype Boston Brings The Hype!

Posted on 09/15/2025 by Dillon Riley

Photos and Review by Kenneth Palacios

Golden light spilled across the stage as Boston gathered for a day of music, energy, and community, and that’s what No Hype Fest is all about. This year’s No Hype Fest, (brought to you by Red Bull, Prolific Cannabis, Just No Discussions, Diaspora, Dialed In Gummies, and Flare Events and presented by the DJ/Producer Duo SuperSmashBroz) tributes itself to Boston’s emerging talent and their diverse cultures and genres. This effort brings in and offers music lovers of all types to come down to Harvard Square to witness this mashup live. More than a concert, the No Hype movement aims to connect artists and audiences together and celebrate creativity and Boston’s vibrant music scene.

By the time the sun was high, it was time for people to turn up. After a soundcheck from Jeleel, the party got started and we were rolling. The audience wandered, fueled by caffeine and anticipation and began dancing and chatting as we got more and more deep into the festival. With a mix of Boston artists and out-of-town talents, the performances mashed together to really hype the crowd up. Simply put, we couldn’t be stopped, and as time progressed, the atmosphere got hotter and hotter as the temperature and sun cooled down. With DJ sets that made the crowd roar and performances that made you want more, we went until the rain sent us away and then moved to Big Night Live to end the night off.

Check out the rest of Kenneth’s photos below.

Rat City Is Everything That Makes Allston Great

Posted on 09/01/2025 by Andrew McNally

Photos and Review by Andrew McNally

Rat’s amore in Allston, as Rat City Fest 2025 is in the books. The now-annual festival upgraded to two stages for 2025, moving down the street from Zone 3 to the Charles River Speedway, which proved to be a borderline-perfect setting. The festival retained its lighthearted spirit, offering more than two dozen local art vendors and a food truck alongside the music. Rat City’s opening ceremony included a unicycling, sousaphone-playing “Rat Jester” who offered a series of donations to the rat head that sat at the front of the main stage. This played well with the fest’s continued focus on community engagement, housing and, yes, dealing with the pervasive rodent problem for which Allston has been long-dubbed “Rat City.”

On the main stage, festivalgoers (dubbed simply, “rats”) were greeted by Big Brute, whose blend of guitar-focused indie rock really set the stage for nearly all of the bands that would follow. The set was energetic and jovial, pulling cuts from their EP Mullin’ and their split with Dwarf Cannon. Due to the open air nature of the Speedway’s permanent businesses and the free admission, there was a healthy crowd at the start, and long-haulers were treated to a robust opening set.

The biggest outlier on the main stage was nurse joy, whose feral set provided for the night’s only mosh pit, and an earache for the stage’s ASL interpreter. The dance-punk group played cuts from their genuinely outstanding debut and final album can I say something…?, disorienting some of the Speedway visitors who were not there for music. It was the band’s penultimate set, so they went all out in the midday heat. Singer Mae Flux was the only musician to don the rat head centered near the stage, and ended the set by letting moshers play their guitar. Head over to Fuzzstival next month to catch the final nurse joy show – they’ve never been one to miss.

Zion Rodman proved to be a great antidote to nurse joy, following up with an excellent dose of more lowkey, groovy indie. Rodman’s set pulled inspiration from folk-rock and alt-country, though still firmly rooted in alternative. The music paired with the cooling temperature and onset of the evening, keeping the crowd going without overworking anyone. Shallow Pools followed, and although they have not released any new music in a few years, their indie-pop sounded no less fun and urgent. The band dedicated their song “Say What You Want” to the ongoing fight for transgender rights, itself a central and important aspect of the fest. The band’s bouncy and motivated tunes proved extremely successful with the joyous crowd, which by 7pm had grown to capacity.

Tiberius followed swiftly after, who quite possibly had more fun on stage than any other act. The band played some cuts from their upcoming album Troubadour, due out in November, and it’s sure to be a doozy. The band’s eclectic background also made for the most unpredictable set of the day, branching wildly into emo, country or heavier alternative at a moment’s notice. Although the band is well-traveled, having just returned home from a Midwest tour, singer Brendan Wright emphasized that the project is initially from “right down the road, literally, this road” pointing out to Western Avenue. They also dedicated a song to their favorite Dunkin’-7/11 combo which is the one that is, presumably, right down the road.

As the sun fully set and a gorgeous night drew, Beeef took the stage, a band foundational to Allston Pudding itself. The band’s easygoing and melodic indie-rock sounded excellent, including a particularly rousing version of “Hummingbird.” They played cuts from Somebody’s Favorite, one of the best local releases of 2024. The beauty of a festival completely Allston-centric is seeing so many legitimate hometown acts play, and Beeef may be the most “hometown” of them all. They closed their set with the 2017 tune “Dogshit Paradise,” a song that is about, indeed, Allston.

oldsoul closed out the main stage, and although they’ve branched out beyond the local community, they made repeated devotions to early years in Allston. The group is signed to Counter Intuitive, itself Boston-based, and they are prepping a new album of their own. It was a fun and slightly raucous set, the most straightforward ‘rock’ band that graced the stage all day. The band pulled from 90’s downer alternative, and roped in a little classic emo as well. In a day full of guitars, it was their best deployment. The group closed out the fest on a high note, leaving the very full crowd satisfied.

Over in the Artist Alley in the Speedway’s garage, a number of solo acts got a corner to perform while people shopped the vendors. Brat Attack kicked off with a riveting and engaging DJ set that set the off-kilter tone for the whole room. Later in the day, Kold Kwan delivered a thrilling rap set that kept the energy high. The evening saw some more toned-down acts, as Lavagxrl’s unique bass-and-vocals brought a smooth and chill vibe, as did the closer Daphne Blue Underworld, whose dreamy experimental-pop seemed perfect to conclude the night. Right in the middle was friend of the ‘pud Marquis Lavoie, who traded in his normal post-hardcore act Actor|Observer for a tender acoustic performance, anchored by a heart-wrenching cover of Manchester Orchestra’s “The Gold.” While the actual crowds at this stage rarely exceeded a dozen devotees, the Alley was constantly brimming with shoppers who were engaging with the music while walking. Vendors at the Alley were selling unique art items like wooden rat ornaments, bog postcards, and bad poems written on the spot. It was an off-beat set of vendors that fit the festival’s unique personality perfectly.

The main stage was semi-occupied by a probably 25-foot tall inflatable version of Scabby the Rat, who oversaw all of the proceedings. It was things like this that called how well the team behind the festival paid attention to details. The main stage had two ASL interpreters that worked all seven bands, the hardest-working people all day. There were plenty of Rat City volunteers everywhere, possibly even too many, all running around like…what’s the simile to use? The permanent food outlets stayed open, but a food truck ensured that lines were never too long anywhere. From the opening procession to the final oldsoul song, it was a jovial and engaging day of music.

Check out some photos from the festival below!

Newport Jazz Brought the Past, Present, and Future

Posted on 08/29/2025 by Ben Bonadies

By Abby Stanicek

The Roots perform at Newport Jazz Festival. Photo by Adam Kissick

Friday

The rain cleared just in time for the start of the 71st edition of the historic Newport Jazz Festival on August 1. Despite overcast skies and strong winds coming off the ocean that surrounds Fort Adams State Park, festival attendees arrived smiling and eager to see the artists on Friday’s lineup hit the stage. Many also braved the weather to follow the classic Newport Fest tradition of arriving via bike.

As the crowds got settled on their beach chairs and blankets, Tyreek McDole and the Moses Yoofee Trio started off the day with well-attended, engaging sets. The Newport Jazz Camp also got to show off the jazz standards and Stevie Wonder songs they’ve been learning this summer to fellow jazz lovers on the Foundation Stage.

Bantu Continua Uhuru Consciousness (BCUC) took over the Quad Stage to bring indigenous funk and fusion to Newport from Soweto, South Africa. The groups’ powerful, booming drums and passionate approach to performance already had audience members dancing in a variety of ways by lunchtime. Intense, sustained vocals left the audience in awe and elicited roars of cheering and applause. Sofi Tukker also hit the Quad Stage with their Butter set, playing the jazz-influenced version of their dance music album Bread. Rather than taking their usual spot behind their DJ equipment, the pair was supported by a talented band that proficiently reshaped “Throw Some Ass” into a jazz song.

Back over at the Foundation Stage—a performance space used to showcase young musicians on the rise—Primera Linea made their Newport Jazz debut. Mentored by Newport Jazz Fest 2024 performers Cimafunk, the group drew in a thick crowd with their palpable stage presence, enthusiastic lead vocalists, and dramatic tempo changes that generated some of the hypest reactions of the day. After their set earlier that morning, the Newport Jazz Camp students showed up in huge numbers in support of Primer Linea.

Those in search of more incredible stage presence and dramatic elements flocked to the Fort Stage to catch singer-songwriter Raye’s powerhouse set. Joined by a big band, she began with “Oscar Winning Tears,” letting the audience know that they were in for a treat through effortless belts and dramatic instrumentals from her band. She was sure to acknowledge all of her inspirations who had taken the same stage before her, specifically noting Nina Simone. For “Mary Jane” and a cover of Diana Washington’s “Cry Me A River,” she became every vocal coach’s worst nightmare by sitting on her knees while she sang, but remained a vocal powerhouse. Raye pulled on both the audience’s heartstrings and her own while singing “Ice Cream Man” and her unreleased track “I Know You’re Hurting,” reminding everyone that they aren’t alone in their struggles and that “music is medicine.”

Just behind the Fort Stage, Thee Sacred Souls filled the Quad with people eager to see their set amid their year of rising popularity. Lead vocalist Josh Lane spent all of his energy for the day on their performance. If the numbers were crunched, he probably spent just as much time immersing himself within the audience as he did on stage. During “Running Away,” Lane surprised many by taking a jog throughout the entire Quad while singing, looping around people settled on their blankets and chairs, leaving their faces full of shock. Lane decided to rest at the back of the stage to sing “Future Lover,” directing the audience’s full attention to his talented bandmates: guitarist Shay Stulz, bassist Sal Samono and drummer Alex Garcia. Astyn Turrentine and Viane Escobar also supplied stunning background vocals loaded with compelling harmonies.

As Thee Sacred Souls’ set came to an end, booming bass could be heard from the start of The Roots set just beyond the stone wall, sending vibrations through the ground. “Questlove” Thompson’s drumming was so crisp that if you bit down on it, you’d break a tooth. Tariq Trotter, a.k.a Black Thought, traveled through his swift rap verses with ease and showed no audible signs of wavering energy. Damon Bryson a.k.a. Tuba Wooding Jr. danced around non-stop with his sousaphone in tow, and shared a great moment of synchronicity with keyboardist Ray Angry while he played talk box-sounding notes on his keytar. The group’s longevity was apparent through their consistent energy and chemistry on stage, which made them a perfect choice to end the first day of the festival.

Saturday

Day two started strong with a set from Maimouna Youseff, aka Mumu Fresh, on the quad stage. Youseff set the vocal standards for the day with her expansive vocal range and sustained belts. Outside of singing, Youseff raps, writes songs, MCs and engages in widespread activism. Her multifaceted wisdom came forward when she introduced her song “Miracle” by telling the crowd, “you can’t move furniture into a cluttered house,” referencing the inability to receive a miracle if your mind is full. Between Youseff’s operatic finales and her adept band, her set was a key start to the attendees’ Saturday experience.

The London-based, multifaceted group Kokoroko soon took over the Quad stage with a set full of multi-instrumentalist talent to keep the fun going. Lead vocalist and trumpeter Sheila Maurice-Grey switched effortlessly between her two instruments of choice and didn’t let her smile leave her face as she sang. Her warm tone, combined with the smooth sound of vocalist and trombonist Anoushka Nanguy, created a solid foundation for their floating harmonies. Kokoroko emitted chemistry within the band through their sound and their willingness to let each bandmate have a moment in the spotlight. This approach prompted guitarist Tobi Adenaike-Johnson to take on an impressive guitar solo that aligned well with the intricate bassline from bassist Duane Atherly towards the end of “Closer To Me.”

Outside of the Quad, bassist and successful producer Ben Carr, aka CARRTOONS, took the Harbor stage next with his powerhouse band. Vocalists Joanna Teters and Julia Zivic took the lead on vocals for the majority of the set, stunning the crowd with soaring harmonies and soulful belts. Zivic also supplied her notable guitar skills and sang alongside her riffs with intricacy. Kiefer Shackelford, aka Kiefer, played riveting keys in Carr’s band, accenting the funk in each track with strong chords and twinkling transitional elements. Carr’s bass lines demonstrated skill while blending seamlessly with the rest of the band, especially with drummer Diego Ramirez’s consistency in maintaining the undeniable groove. During “Dial It Back,” Carr also brought vocals to the table and joined Teters and Zivic in a smooth three-part harmony, which was soon followed by an expansive belted riff from Zivic. Since Carr used to attend the famed jazz festival with his father when he was young, he thought it was only right to bring out his dad, Rick Carr, for an epic violin solo that was met by roars from the crowd. “I’m very proud of my whole crew and it’s just so awesome to bring my dad here,” says Carr, reflecting on his first time hitting the Newport Jazz Fest stage.

Later in the afternoon, the Quad seating was cleared in preparation for the fun that WILLOW’s set would entail. Willow Smith immediately launched the audience into cheers as she moved easily through her high falsetto. Supporting Smith’s stunning vocals were bass lines from bassist Mohini Day, full of expertise that could be heard through quick, rhythmic movement between notes. Smith shed light on her creative mind when she turned her pop-punk hit “Transparent Soul” into a calypso-influenced dance track and “Meet Me At Our Spot” into a soothing piano ballad. After sharing her piano playing and vocals with the crowd, Smith decided to take it a step further and rip a guitar solo, which prompted the crowd to cheer for her to the point where she felt compelled to bow down in return.

Picking up on WILLOW’s good vibes and high energy, Janelle Monáe took over the Fort Stage to end an already talent-packed day with a next-level set. Joined by two dancers and a large band packed with talented musicians, Monáe provided the crowd with seventy minutes of pure entertainment. As many artists who performed on the Fort Stage did, Monáe and her band honored those who have played the festival and have served as an inspiration to her, playing instrumental sections for artists like Count Basie and Sly and the Family Stone. Her iconic vocal talent made a strong appearance on “Electric Lady,” as well as her ability to command the stage with her undeniable stage presence. The bass in “Lipstick Lover” shook the ground, basically sending attendees out of their seats to start dancing. Monáe ended her set with her jazz-rock fusion hit “Come Alive (War of the Roses),” filling Fort Adams with booming bass, raucous guitar, and forceful vocals.

Sunday

Jimmy James taking his teeth to the strings for “Amazing Grace.” Photo by Rich Fury

The final day began at the Harbor Stage with Parlor Greens, an organ, drums, and guitar trio. Following an impressive introduction from Artistic Director McBride, where he referred to the group’s music as pot liquor, guitarist Jimmy James, organist Adam Scone and drummer Tim Carman took the stage with confidence for their Newport Jazz debut. Instantly, they tapped into the undeniable funk McBride spoke of with resonant organ chords from Scone and an energetic guitar solo on “In Green We Dream.” Drummer Carman never left the pocket, especially on the blues track “200 Dollars,” due to his heavy background in the genre. James also took this song as an opportunity to end the song with a variety of famous guitar riffs, which included him playing “Amazing Grace” and an epic conclusion played entirely with his mouth. To further excite the crowd, the trio covered Dolly Parton’s “Jolene” and George Harrison’s “My Sweet Lord” in the Parlor Greens way. “Growing up, my mother listened to a lot of country music, being from Texas, and I wanna revisit that,” said James, in support of his choice to cover “Jolene.” Once their set was complete, the crowd was grateful that McBride discovered them through the speakers of a Japanese record store.

Kiefer Shackelford, aka Kiefer, entered the Quad Stage for his second performance of the weekend, this time as the headline act with CARRTOONS joining him on bass. From the first note played on his Rhodes piano, the crowd was hypnotized by Kiefer’s twinkling notes and riffing over droning synths. For “Superman,” Carr and drummer Diego Ramirez paired up to play a funky rhythm line for Kiefer to play off of. He added smooth chords with sporadic chords on the Rhodes to keep the crowd intrigued and showcased his skills well. Kiefer then admitted that he auditioned for Abraham Laborie’s band—the most recorded bassist of all time who famously worked with Quincy Jones—and had no idea who he was. Luckily, he ended up joining the band and living next to him, receiving free music lessons from the legend. With this story, he introduced “Be Encouraged,” a phrase often said by Laborie. As a nod to the expert bassist, Carr played a great bass line that paired well with Kiefer’s floating notes on keys.

The appreciation for bass continued at the Fort Stage with enormous sound. Outside of being the Artistic Director of the entire festival, Christian McBride also fronts his own big band on double bass and bass guitar. The nine-time Grammy winner was joined by a wall of brass, woodwinds and percussion that meshed well with his iconic bass playing. McBride and his band transitioned easily between varying eras of jazz, displaying their expertise in the genre. Before Cécile McLorin Salvant’s early evening set, McBride brought her out to sing a couple of songs with the band, one of which was performed by just McBride on double bass and Savant on vocals. As if one surprise guest wasn’t enough, McBride also brought out Rhode Island native and former L.T.D. lead singer Jeffrey Osborne to sing a few songs, including L.T.D.’s hit “Back In Love Again.” McBride’s contagious positive energy was present for the entire weekend, but his engaging performance brought it to the next level.

After McBride’s performance, many attendees stayed put at the Fort Stage to experience what would be an unforgettable live performance from De La Soul. Making sure the crowd that packed the standing area was fully involved with the set, they comically started a song over to make sure everyone was two-stepping. Kelvin Mercer, aka Posdnuos, gassed up the crowd and said, “You all look beautiful in the sun,” maintaining the unwavering positivity the group emits. Throughout the set, they called out to the late and great member of the group, David Jolicoeur, by saying “thank you, Dave” and looking up into the sunny sky. Ensuring their set ended with a party, the group mashed up “A Roller Skating Jam Named ‘Saturdays’” and “Me Myself and I,” sending the crowd into a dancing and cheering frenzy.

Coming off a stunning guest appearance with Christian McBride’s Big Band, Cécile McLorin Salvant entered the Quad Stage with a beaming smile. Written by Salvant in honor of the late author Toni Morrison, “What does blue mean to you?” featured Salvant’s precise diction and spanning vocal range. An elated “ahh” rushed through the crowd as Salvant softly uttered, “What’s it all about,” as many were excited to hear how Salvant would make the Dionne Warwick hit “Alfie” her own. Salvant exceeded the audience’s expectations, bearing notable emotion in each note and not going one line without being met with cheers at the end. To continue the vocal prowess trend on the Quad Stage, seasoned vocalist and multi-instrumentalist Esperanza Spalding was next to take the stage. Surprising the audience, Spalding began with a cover of “I Want It Now” from Willy Wonka and the Chocolate Factory, which showcased her spanning vocal range and artistic piano skills. During “Dance The Animal (mind),” Spalding displayed her expert knowledge of the double bass as her fingers sprinted up and down its neck, and the dancers that accompanied her moved with each pluck.

For the final set of the weekend, musical genius Jacob Collier took over the Fort Stage with his array of instruments and talented band. Collier asked the crowd, “Who here would like the funk?” Collier picked up a bass guitar and began the funky bass line for “Time Alone With You,” which featured stratospheric riffs and harmonies from his backup vocalists. To honor his late mentor Quincy Jones, Collier sang a cover of “Misty” as a nod to Jones’ arrangement of the track for Sarah Vaughan that was performed at Newport Jazz, notably in 1967. As a beautiful sunset came into view, Collier knew it would be a great time for his famous audience choir. Assigning sections of the crowd with starting notes, he moved between sections, conducting his arms higher or lower to shift the harmonies. By the end, the Fort Stage crowd sounded as though they were an orchestral choir performing in a grand hall, and everyone cheered in amazement once Collier brought the choir to a close.

After selling out completely for the last two years, the Newport Jazz Festival has become the best place to be on the first weekend of August. Though it’s widely known that the festival is rich in history, each artist who graced the stages at Fort Adams expressed their gratitude to be able to perform where their idols once stood. “Is jazz dead?” plagues the minds of many musicians and music lovers, but Newport Jazz Festival reveals that it is alive and well.

Fandom Fever Hits New Highs at Fan Expo Boston 2025

Posted on 08/26/2025 by Photo Editor

Photos & Review by Samantha Davidson

August 9th, 2025. Cosplayers pose for a selfie at Fan Expo Boston 2025. Photo by Samantha Davidson.

Geeks from across New England flocked to the Thomas M. Menino Convention & Exhibition Center for Fan Expo Boston 2025. Through the weekend of August 8th to 10th, onlookers not yet in the know witnessed jedi stepping out of ride shares and The Lorax wandering the streets of Seaport. Guests spent, in some cases, thousands of dollars on larger-than-life cosplay to mingle, pose for pictures, and compete in contests. Each look was celebrated, from a subtle cosplay nod to hand-sewn looks that took guests months to craft. The array of celebrity guests determined the most popular categories: jedis, stormtroopers, and a wide array of beloved Marvel and DC characters–hint: fans could recreate the Spiderman pointing meme tenfold.

Cosplay at Fan Expo Boston 2025.

The unique Fan Expo lineup enabled multiple cast members to join each other on stage for humorous and insightful panels. Fans could witness these actors’ chemistry and energy bounce off each other. Even though Avatar: The Last Airbender aired 20 years ago, Zuko, Toph, and Uncle Iroh (Dante Basco, Michaela Jill Murphy, and Greg Baldwin respectively) reunited for the Boston crowd, and the cast of Supernatural confirmed there is an active cast group chat.

Solo stars held their own, capturing the attention of every person in the crowd. Simon Pegg shared a story about a “brilliant” prank he pulled on Tom Cruise, where he put on his seat heater without him noticing. Freakier Friday’s Manny Jacinto’s panel on Saturday was a standout for its effortless blend of purpose, humor, and connection. When asked who he would switch places with he said “anyone who’s sleeping” and “Keanu Reeves.” The Filipino actor is working to improve representation in the media by stepping into the producer’s seat. He recalls how the bar of “having to be excellent” each time makes it important to him to pass on and share his experience with his community.

John Cena speaks at a pannel.

Jason Isaacs, best known for playing Lucius Malfoy in the Harry Potter films, spoke about his experience playing darker characters. To create a convincing betrayal, he has to believe “they do not think they are doing evil.” Beloved portrayer of suave villains Giancarlo Esposito revealed he is hoping to return to normalcy, “We have people who create their own success in nefarious ways, and we have people who do their lives legally. Every day, 9 to 5, they work hard, and they expect to be rewarded for it and they should be. I’ve been wanting to play more characters like that.”

The vibrant vendor and artist alley area filled the main hall to the brim. Between panels, guests roamed aisles of mystery boxes, figures, and posters. Vendors had obscure and hot-button items like Labubus (and Lafufus). It wouldn’t be Boston without a photo opportunity with a Star Wars Dunkin’ themed droid.

Catherine Tate and a fan pose for a selfie.

Jewelry charms and keychains for every fandom made Fan Expo the perfect summer marketplace and perhaps an early holiday shopping opportunity for the fans in your life. Attendees craving a personal interaction with their favorite stars headed to the back of the hall and lined up for autographs and photo-ops. Excited chatter and bonding moments occurred in line as fans decided what pose they wanted for their selfies or the signature personalization they wanted on their memorabilia.

They also exchanged contact information and planned their next meetups, a reminder of how fandom brings communities together. Celebrities took the time to greet and get to know each fan, with the most memorable interactions witnessed being Catherine Tate’s signature selfie duck face pose and Jared Padalecki’s dramatic gasp.

This weekend proved to be an oasis for guests of all ages and attendees from all fandoms. After spending 2024 in the Prudential Center, Fan Expo Boston made a triumphant return to Seaport, cementing it as an essential summer getaway for any New Englander. Tickets for 2026 go on sale soon. Sign up for updates here.

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

Back Cove Music & Arts Festival Puts Its Best Foot Forward

Posted on 08/25/2025 by Dillon Riley

Photos and Review by Greg Wong

Thee Sacred Souls at Back Cover Music & Arts Festival shot by Greg Wong — Thee Sacred Souls at Back Cover Music & Arts Festival

The Back Cove Music & Arts Festival in Portland, Maine debuted on the weekend of August 2^nd and 3^rd. The premiere edition of the 2-day festival featured a solid lineup headlined by Lord Huron and Jack White that attracted a healthy assortment of local residents and music lovers regular to the Boston area.

First impressions were good. Off-site parking available at several nearby school parking lots with complimentary shuttles was straightforward and low-hassle. The festival grounds in Portland’s Payson Park offered ample space for a variety of food, drink, and art vendors, as well as multiple water stations, picnic tables, shade, portable toilets and sinks, and of course decent crowd space in front of the 2 stages. Dedicated fans were able to camp the railings up front, while more casual attendees were able to throw down blankets and chairs farther back with a view of the stage video screens. Several of the larger trees dotting the park offered welcome respite from direct sunlight, and while not always consistent, there was also a pleasant breeze sweeping in over the water of the festival’s titular Back Cove. Also of note: VIP-only viewing areas occupied about half of the area immediately in front of each stage, with other VIP amenities including air-conditioned restroom trailers, a private bar area and some limited food options.

One quirk of the festival’s setup however was that the main “Baxter Stage” was constructed at a slightly lower elevation than the rest of the park, which resulted in a fairly massive gap between the barricade and the stage that prompted Lord Huron’s Ben Schneider to quip, “When all these photographers clear out of here, we’re going to have a joust.” The stage floor itself was also roughly equal height to the ground the audience was standing on, which prompted at least some comments from shorter attendees. That said, the second “Longfellow Stage” suffered neither of those issues, and the non-overlapping sets meant that there was a real incentive to migrate between stages often.

The event felt well-attended start to finish, but never too crowded or claustrophobic, with no particularly obvious choke-points. The general sentiment among locals seemed to be that they were happy to have a new festival in Portland, while out-of-towners expressed their happiness that Portland is both a nice city worth visiting and a relatively short drive from surrounding states. In short, people were happy to be there and that feeling seemed to translate directly to the overall atmosphere of the crowd.

Both days of the festival began with a student showcase of the Maine Academy of Modern Music: a quick rotation of mini-sets performed by young aspiring musicians. Saturday’s billing leaned generally towards folk and funk, with notable exceptions being the alt-pop, multi-instrumentalist, singer-songwriter Sarah Kinsley and Portland-native indie rock band Weakened Friends. Highlights included the infectious energy of Cimafunk, and the up-close-and-personal crowd interactions of Thee Sacred Souls. The Roots were a relatively recent addition to the schedule, replacing André 3000, but the excited anticipation they generated made it abundantly clear that they were more than just a consolation prize. Lord Huron closed out night 1 with an impressively elaborate production worthy of their headlining set. Sunday’s lineup headed in a distinctly more indie direction, with Eliza McLamb, The Greeting Committee, Madi Diaz, and Lucy Dacus leading that charge. Country was well-represented by Margo Price and the Turnpike Troubadours with popular sets toward the tail end of the day. Lucy Dacus’ set closed out the secondary Longfellow Stage for the weekend with a twist: three simultaneous weddings on stage, officiated by Dacus herself. Jack White wrapped the festival up on the main Baxter Stage with a performance that was undoubtedly the biggest attraction of the whole weekend for many festival-goers.

With the end of Jack White’s headlining performance, so concluded the successful first iteration of the Back Cove Music & Arts Festival. There was clearly a demand for a festival of its kind in Portland, and the thoughtful execution laid effective groundwork for future versions. Back Cove seems to be off to a strong start, and with luck this step in the right direction will continue forward.

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

SATURDAY

SUNDAY

Up From the Bottom: The Return of Linkin Park

Posted on 08/25/2025 by Dillon Riley

Photos and Review By Greg Wong

Linkin Park live at TD Garden shot by Greg Wong — Linkin Park live at TD Garden

In July of 2017, Linkin Park abruptly cancelled the US leg of their One More Light world tour following the untimely death of lead vocalist Chester Bennington. After a long hiatus, the iconic alt-rock band returned with their 8^th studio album From Zero, and a new lead vocalist, Emily Armstrong. The protracted, uncertain wait for Linkin Park’s return to Massachusetts finally ended when they packed Boston’s TD Garden 2 nights in a row on July 31 and August 1. Allston Pudding was on site to cover Night 2.

Lowell, MA natives PVRIS started the evening off right with a high-energy performance to a full arena. PVRIS leaned into the harder-edged part of their repertoire to cater to the Linkin Park crowd. Notably, they performed “TAKE MY NIRVANA,” a song co-written and produced by Linkin Park’s Mike Shinoda. Unsurprisingly, PVRIS received an enthusiastic response from the hometown audience.

The anticipation for Linkin Park built steadily as a timer counted down to zero on dual jumbotrons. The band received a thunderous welcome as they filed in through the barricaded corridor to the 360° stage at the center of the arena. They started the show by putting the pedal to the nu-metal, opening with heavy hitters “Somewhere I Belong,” “Points of Authority,” and “Crawling.” The immediate throwback to the glory days of Meteora and Hybrid Theory also served as a demonstration of sorts: quick proof to assuage any doubts that Emily Armstrong has the vocal chops to step into the void left in the absence of Chester Bennington. If there was any lingering uncertainty, it did not manifest itself in the lively audience.

Fans were unabashedly excited to experience Linkin Park live in Boston for the first time in many years, and the reward for their patience was a sprawling setlist that touched upon most of the band’s discography. The new tracks of From Zero were integrated in the setlist with a larger portion of the back catalog, with Hybrid Theory and Meteora receiving the most representation of the earlier albums, but Minutes to Midnight, A Thousand Suns, and LIVING THINGS all made their impact felt. Between “What I’ve Done” and “New Divide,” fans of the Transformers movies ending credits got their kicks, but there were more highlights to the concert than songs to make Michael Bay memes to. Lynn Gunn of PVRIS joined Linkin Park on stage for a vocal feature in “BURN IT DOWN,” and later Mike Shinoda stepped up to the plate for a couple of songs from his solo project, Fort Minor: “Where’d You Go” and “Remember the Name.” There was also a playful intro changeup to “Numb” that was ostensibly chosen via multiple-choice by a random fan, resulting in a disco style drum lead-in. Amid the throwbacks, crowd response to From Zero was strong enough to prevent the new material from being overshadowed by the more established fan favorites, with some standouts being “The Emptiness Machine,” “Up From the Bottom,” “Two Faced,” and “Heavy Is the Crown.” The 2-hour long show ended as it began with a sampling of peak nu-metal Linkin Park in “Papercut,” “In The End,” and “Faint.” Ultimately, the signs were apparent that fans were ready to embrace the new iteration of Linkin Park, and 8 years of pent up anticipation culminated in a remarkable experience.

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

The Artist Formerly Known As Pink Navel

Posted on 08/14/2025 by Harry Gustafson

Words & Photos by Harry Gustafson

*Devin Bailey has performed under the name Pink Navel since 2017, but they’re opting for a name change ahead of their final show this week.* Cambridge, MA. August 12, 2025.

“I know that people have felt very seen by how I rap and the niche that I’m in.”
-Devin Bailey

When Pink Navel says, “I could be a burger mogul if I wanted to,” you believe them. After all, when they’re not operating their mic and sampler as one of the Northeast’s slickest alt-rapper, you can keep up with their Instagram story tutorials on how to make the perfect smash burger. We trade some personal methods and preferences, agreeing that Burger is one of the ideal vessels for culinary creativity.

So on Thursday, August 14th, after Pink Navel performs their final show, will they begin their career as a burger artist to rival the Walhbergs? Probably not.

I toyed with the idea of titling this piece “The Death of Pink Navel,” but opted for something less sensationalized and alarming. Of course, there’s nothing wrong with Devin Bailey, the artist behind the Pink Navel moniker. In fact, it’s just the opposite: I meet Bailey in fantastic spirits as we get together for a beer. They can talk your ear off about a number of interests, whether it’s burgers, or MF Doom lore, or analyzing the appeal Dragonball Z holds for Black people and hip-hop culture (“It’s a show about perseverance”).

Since their first release as Pink Navel in 2017, Bailey has kept listeners on the edge of their seats with whimsical beats, witty lyricism, and a bubbly, eccentric personality. While they’re not playing a character, per se, Bailey says “Pink Navel” is a reflection of who they were as a young adult, a lens through which they interact with the world. “To me, Pink Navel was all the bright-eyed, bushy-tailed kid,” they say. “Not in a negative way, but I don’t feel youthful as I once did.” Shit. Time for jazz?

*Spinning the merry-go-round with Pink Navel.*

While Pink Navel allowed Bailey to gaze at the world through a pop culture lens, it was also an experiment in dealing with feelings of being an outsider looking in. By adopting a new moniker – Dotdev – Bailey hopes to take a more autobiographical approach to lyricism. They developed the name based off the thought experiment of imagining different file types (.JPG, .FLAC, etc.) as having human characteristics (“.JPG is like a mean middle schooler”). Life would be simpler as a file, something made with a set purpose and function. “Things would be easier if you were just like ones and zeros,” they say, explaining how playing with this idea of literal binary as a non-binary artist became a central theme in their work.

This isn’t the first time they’ve changed their performing name. Before becoming Pink Navel, Bailey rapped under the name Running Laps. “Nothing I was rapping about was real,” they say. “It was like sci-fi, just like random shit. Then Pink Navel is like my perspective on life through the lens of being like a latchkey kid that watched TV all day and like went on the internet and like watched cartoons.”

When they dropped that name, it wasn’t really an issue because no one knew who they were at the time. “I didn’t have the same decisions to make career-wise,” they explain. “I could just do that and people would be like, okay.” What’s in a name? These days, for performing artists, quite a bit. An artist’s stage name is how people know them, how they get found in the age of SEO. “It doesn’t exactly help me to be doing this,” they say, talking about the marketing pitfalls that come with adopting a new title. But keeping things fresh and staying true to their own identity are more important to Bailey than algorithmic visibility. They compare these name changes to Dr. Who: at the end of the day, it’s all the same being, but one that morphs into new forms with altered characteristics and affectations.

Bailey also doesn’t want to alienate the fanbase they’ve cultivated so far in their career. “I know that people have felt very seen by how I rap and the niche that I’m in,” they say. But at the same time, they’ve felt like Pink Navel makes music that they want other people to hear. Dotdev is meant to scratch more personal interests, while still retaining that niche appeal.

Whatever name they’re using, being able to perform live is something Bailey didn’t really envision when they were younger. “I had a pretty awful speech impediment when I was a kid and I worked through it,” they tell me. “I never had an aspiration to perform vocally in any way, because I was like, I can’t do that. I talk like a maniac.”

So when Bailey steps up at Zone 3 in Allston on Thursday, August 14th to perform the final Pink Navel show, they’ll have some surprises in store for the audience. “I’m gonna do some special shit there that I usually don’t do.” We’ll have to wait and see what that means exactly.

Once we wrap up talking, we head down the block to a nearby playground so I can get some photos of Bailey. After an hour of talking about leaving behind a name that represents youthful expression for more mature, autobiographical themes, here they are on a swingset, having the time of their life.

Devin Bailey will continue to record music under the name Dotdev. You can catch their final performance as Pink Navel on Thursday, August 14th at Zone 3 in Allston, part of Allston Pudding’s free Summer concert series. RSVP via Eventbrite.

Ghost Summon an Unholy Communion in Boston

Posted on 08/11/2025 by Andrew McNally

Photos and Review by Greg Wong

Confused onlookers around Boston’s TD Garden gawked at the throngs of black-clad, face-painted, and ghoulishly-themed devotees of the band Ghost flooding the area on Monday, July 21st. The dark congregation signaled that the popular arena rock band had come to town for their SKELETOUR world tour in support of their new album Skeletá.

The evening was solely focused on Ghost and their fans at the sold-out Garden; there were no opening performances, and the show did not start until nearly 8:20 pm. In spite of the pointedly grim theme of the tour, the mood could best be described as surprisingly wholesome. Excited fans of all ages arrived early and hyped each other up, buzzing in anticipation for the show—commonly referred to among fans as a ritual—to begin. Many came dressed in a simple band tee, and plenty of others had painted their faces with skull patterns, yet a decent number pulled out all the stops and arrived in gloriously glittery vestments of Satanic clergy. They all had little choice but to interact with each other as they waited, because everyone’s phone was locked inside a pouch for the duration of the phone-free event.

The ritual lived up to the hype. Ghost began with the choral intro to Skeletá lead track “Peacefield” from behind a huge tattered curtain that opened to reveal the band: frontman Papa V Perpetua (the current persona of Ghost founder Tobias Forge) and his accompanying Nameless Ghouls. Spaced across a sprawling gothic stage beneath a massive, looming crucifix of a lighting assembly, they cast an imposing silhouette. The dramatic iconography and intense theme of the ritual belied the actual accessibility of the music. From the outside looking in, the congregation looked more insular than it was. In reality, newcomers were welcomed into the fold with open, winged arms. The complete absence of phones was a refreshing sight, and fans fully in the moment engaged with the band in some classic ways: raised lighters, and at least one bra that found its way on stage. Ghost performed a 2-hour long set that featured a blend of very well-received selections from several albums. The arena crowd chanted lyrics in unison as the band hit some particular favorites with “Satanized,” “Rats,” “Mary On A Cross,” and “Square Hammer.”

The ritual was not filled with much sermonizing, but as the night drew to a close, there was more banter. Tobias Forge took a moment to thank everyone for selling out TD Garden, and he reminisced on previous, considerably smaller tours to Massachusetts, citing shows at The Middle East downstairs and The Orpheum Theatre as far back as 2012. The pageantry and pomp of the SKELETOUR was practically tailor-made for a venue like TD Garden, but Ghost has travelled a long path to reach such heights.

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