Indie-pop singer-songwriter Anna Shoemaker recently stopped by Boston to deliver an intimate set on Joe P’s Garden State Vampire Fall Tour. The singer strutted out in a sleek black maxi skirt, knee-high boots, a white long-sleeve, and friendship bracelets to top off the look. She greeted the crowd and dove right into the song “Fields.” Her guitar playing enhanced the magnetic and mellow track, infusing energy into the venue to the crowd’s elation. Shoemaker paused between songs to chat with the audience, sharing that her new album Someone Should Stop Her releases in February of next year, which elicited emphatic cheers. Notable track, “Game of Thrones” really got the floor going with its upbeat and catchy melodies that beautifully contrasted the vulnerable and relatable lyrics.
Joe P stepped on stage soon after, playing an array of songs off his newest rock album, Garden State Vampire. Strobing lights matched the driving sharp bassline on the album’s opening track, “Everybody’s Different,” setting the lively tone. Joe P sported an Ushanka, a floral knit short-sleeve, and black jeans, jumping around the stage the rest of the set. If you haven’t already, make sure to catch Shoemaker and Joe P live before the Garden State Vampire Fall Tour ends in December. Buy tickets here.
Check out all of Samantha’s photos from the show below.
Weston Estate arrived on the stage at Royale in Boston on November 20th to a crowd incredibly eager to hear them sing their biggest hits. The energy in the room could be felt from the beginning to the end of Weston Estate’s performance, and it’s safe to say they had control over their adoring fans from the get go. Whether jumping up and down to a high-octane song or waving their phone flashlights to a ballad, it was easy to see the concert-goers’s devotion. During the middle of Weston Estate’s set the band gave the mic to a fan in the front of the crowd so they could stall for time while a technical issue was being fixed, to which the fan asked the band why they started 30 minutes later than their scheduled start time. The band members, hinting at their laid-back nature, replied that they needed all that time to look amazing to their fans, as who would want to look disheveled on stage? Weston Estate’s setlist included hits like “Saturday Nights”, “Daisies”, “Slowly”, and “Pears”, along with some unreleased music from their upcoming project Superbloom.
New York’s Souly Had opened the show nicely with a sound that split the difference between classic hip hop and heady alt R&B.
Check out all of Edzani’s photos from the show below.
Modern pop-punk titans The Story So Far brought their I Want to Disappear tour to MGM Music Hall for a nice pre-Thanksgiving evening. Accompanied by Superheaven and Koyo, The Story So Far are touring their fifth studio album, released this past summer on Pure Noise Records.
As one of the biggest names in 2010s pop-punk, California’s The Story So Far have claimed Boston as a second home for over a decade. The band has always made a point to stop in Boston (or Worcester) on each tour route, sizing up each time – their most recent tour with Joyce Manor sold out Roadrunner. Admittedly, hosting a show the night before Thanksgiving is a tough sell, but New England showed up and brought the party to Fenway.
The Story So Far’s discography goes back over a decade, but the band knows exactly how to mix-up a setlist to cater to fans of each album cycle. The band brought the energy and opened up with the lead single, “Big Blind,” from their latest album before stepping back to the lead single of their 2013 sophomore release, “The Glass.” Venue security was immediately put to the test as the waves of crowd surfers rushed to the stage, and singer Parker Cannon fed off the energy as he moved around and encouraged the crowd participation throughout the night. After a fake-out encore, Cannon wished the crowd a happy Thanksgiving and capped off another successful show in Boston.
Check out all of Cam’s photos from the show below.
K-pop quartet KISS OF LIFE (KIOF) wowed Boston with an electric performance at the Orpheum Theatre last Saturday. The sold-out show was a part of the KISS ROAD world tour, the group’s first global jaunt. Fans spilled into the venue, excitedly waving their official KIOF heart light sticks and erupted with cheers when the the track “Get Loud” from the Lose Yourself EP buzzed in the speakers. The group selected the perfect song to jumpstart the show, as fans couldn’t help but match the high energy of the bassline and its catchy melody.
Julie, Natty, Belle, and Haneul strutted on stage in sparkly and cohesive black outfits, silhouetted by the lights behind them. Their sleek skirts, shorts, strappy tank tops, and dresses featured silver heart seams and large silver statement buttons. Choreography flowed between group poses and formations that highlighted each of the members and gave them their own moment in the spotlight. The setlist spanned many of their projects and singles, with fan favorites scattered throughout the night. Make sure to catch KIOF live before the North American leg of the KISS ROAD tour ends in December. Buy tickets here.
Check out all of Samantha’s photos from the show below.
Singer-songwriter Zinadelphia performed to a captivated sold-out audience at Berklee’s Cafe 939. Hailing from Philadelphia, Zina owns her jazzy and soulful pop brand to its fullest. The Boston show was a part of The Magazina Tour, promoting her latest EP, The Magazine. Tracks like “Snap Out Of It” and “Love Over Glory” display her ability to combine vulnerable lyricism with swinging melodies.
Her ’60s mod aesthetic translated to a lively and joyous show, with fans wearing hot pink go-go boots and denim jumpsuits. Merchandise included a 72-page magazine created by Zina and full of behind-the-scenes content from the album. Claire Ernst kickstarted the night by performing in a red cardigan and strawberry shortcake tee. Her powerful voice left a lasting impression, with covers like “Isn’t She Lovely” by Stevie Wonder complimenting her powerful voice. Ernst shared her excitement as this was her first cross-country tour. The stage matched the euphoric tone Ernst set for the night, with a feather boa adorned on the mic stand and a yellow rotary phone on a chair. When Zina finally emerged soon after, she carried out an oversized magazine prop and sported a white flare dress, bright purple tights, cherry earrings, and matching red barrettes.
She opened her set with the explosive title track, a self-reflective piece about the media and its effects on confidence. She paused between songs to flip the magazine prop and chat with the audience. A true creative, she revealed that she’s been creating more new music and played an unreleased song based on a line from the film Almost Famous. Currently titled “Call Up Nancy,” the track is about finding comfort in record stores and her musical inspiration Nancy Sinatra. Zina continued to wow fans throughout the night, sharing her gratitude for new and old fans alike, extra excited when the audience sang along to tracks from her 2023 EP Lucky. If you haven’t heard of Zinadelphia yet, you’ll want to get familiar with her now so you can say, “I knew her when.”
Check out all of Samantha’s photos from the show below.
Singer and rapper Lexa Gates brings her modern sound to the genre in debut album Elite Vessel, released in October. The Queens, New York rapper embarked on her first-ever headline tour, making a stop at Boston’s Brighton Music Hall on Thursday. Fans eagerly awaited Gates’ arrival, carrying bouquets of flowers as gifts. Gates finally emerged from behind a stage curtain with her own bouquet of red roses, her signature bold eyeliner, a white crop top, sleek black pants, and the controversial tabi-style boots known for their animalesque hoof look. Her attire perfectly reflected her playful personality, exemplified by her doing a call and response for “Deez” and “Nuts” about midway through the set. Gates put on an unforgettable performance, with standout tracks like “Stupid” energizing the audience with catchy hooks and cheeky lyrics. If you haven’t already, make sure to catch Gates live before The Elite Vessel Tour ends in February. Buy tickets here.
Check out all of Samantha’s photos from the show below.
Hot off the heels of their third album in five years, Origami Angel brought their Feeling Not Foundtour to Big Night Live. The tour package was rounded out by Arm’s Length, Macseal, and Forests.
The D.C. emo two-piece that is Origami Angel has been unstoppable since their first release back in 2017. Comprised of singer/guitarist Ryland Heagy and drummer Pat Doherty, the duo have made their presence a staple of their identity. Heagy has discussed at length the time he’s spent crafting his guitar rig to sound like a full band arrangement. “Origami Angel’s identity is it’s us TWO,” Heagy said in a response on the band’s Reddit AMA at the time of their LP release.
The band accepted the herculean task of playing almost every single track from their new record, all while mixing other favorites from their catalog. Starting off with the one-two punch of “Lost Signal” and “Dirty Mirror Selfie,” the crowd sprang into action to help Heagy sing every word throughout their set. Any chance he got, Heagy would jump back from the microphone to dance around the stage, which is somewhat of a miracle given the sheer complexity of the guitar parts being played. Once the band finally reached the final lap of their musical marathon, they invited Marty Hacker-Mullen (Arm’s Length) out to play the guitar solo to the title track of the new record as the crowd joined in singing “no matter how much the world wants me to change” to cap off an exciting night (complimented by a Bruins win next door).
Check out all of Cam’s photos from the show below.
Singer-songwriter and producer Sabrina Song captivated audiences across the globe with her debut album, You Could Stay In One Spot, and I’d Love You The Same, released this year. Her articulate lyricism and catchy indie-pop tracks are signs of a rising star. Allston Pudding staffer Samantha Davidson sat down with Song when she stopped by Berklee’s Cafe 939 during her first cross-country tour to learn more about her writing process, production decisions, and art direction.
Note: Some questions and answers have been slightly edited for brevity and clarity.
Allston Pudding: We’re having this interview right after your incredible opening set. Thank you for sitting down with me today! What is one of your favorite memories or fan interactions from the Late Start Tour with Carol Ades?
Sabrina Song: I think one of my favorite is from the last show in Philly. We finished the set and then someone in the front of the audience was like, “I made you these bracelets.” They were alphabet bead bracelets. I didn’t look at them too closely, and then when I packed up all my stuff and had more time, I saw that they were all my song titles. I thought that they would have been Carol’s. I just didn’t expect that, and I got to talk to the person after. It was so sweet. That was one of the first times anyone’s ever made a custom little gift, so that was really amazing. Everyone after the shows in the audience, talking to people, has been so sweet. That’s been a highlight for sure.
AP: I love that. Your debut album, You Could Stay In One Spot, and I’d Love You The Same is absolutely breathtaking. The title appears in the song “Busy Work,” and I was wondering how you selected that phrase as the title and what it means to you?
Song: Yes, I really thought about the title for a long time and I knew that You Could Stay In One Spot, and I’d Love You The Same was long, but I really was scouring the lyrics. I was brainstorming phrases and motifs that I thought appeared throughout the album but nothing was really capturing the overall sentiment better than that phrase. I was saying this a bit during the show, but it was a period where so many people, after college and as parents become empty nesters, are moving and changing cities. You’re young enough that you can kind of relocate anywhere. I was just having so much gratitude for my loved ones and feeling like I was coming into my own and finally having some period of true self-acceptance. It kind of was a message for myself and the people in my life: “Even though this is this tumultuous transitional period, you are what I care about and it doesn’t matter where you are.”
AP: You showcase your incredible songwriting and vocal range on delicate tracks like “Before and After,” rock-inspired songs like “Okay, Okay,” and the perfect intersection of both in “It Was Not A Beautiful Night.” I’d love to learn more about what the songwriting and production process looked like.
Song: I think this was definitely a bit of a departure from the overall sound of my music before the album, which definitely leaned a bit more synthy and sparse even. I always wanted the soundscape of my music to be what the album encompasses, but I just never felt ready. I felt like I hadn’t figured that out yet. I felt like I was letting myself be influenced by what other people were doing. I had a lot of background noise in my head about what the production should sound like. With the album, I wanted there to be a lot of live instrumentation. I want to have really high highs and low lows and I always try to let the songwriting guide the production. On songs like that, maybe I’m not thinking actively, “Oh, this will be a more mellow song, this will be the high point,” but as we started putting the track list together, it was shaping out nicely. It felt like I was hitting all the marks that I wanted to hit and emotional beats too. I try to read the emotional tone and then flesh out what I’m hearing in my head.
AP: That was a perfect segue because you talked about the live instruments on the album. What do these elements add to the music for you?
Song: I love so many different genres and spaces artists occupy in a live setting versus the recorded music. I think it’s really interesting how people adapt things for live shows. I love the pop-leaning direction, I love more electronic instrumentation. I think from trial and error for me, at least right now, who knows, maybe in the future I’ll change my mind, I was really feeling like more live instrumentation is what the songs needed to resonate. It was also something I just hadn’t tried as much before, so it was also just an experiment in “What would it be like if I wasn’t relying on so many sampled elements or in-the-box elements?” It was really what I had always wanted. I think I just hadn’t figured that out yet. I really like blending the live instrumentation with some of the sampled sounds, ambient noises, and field sounds.
AP: I love the intimate aesthetic you created with the visuals of playing cards and candles. The album art and Spotify canvases help create and sell the world. Where did the shoot take place and what inspired the art direction?
Song: I feel like I’ve never actually talked about this before. I’m dying to. One of my best friends, Livy Wicks, shot it. She also makes music under the name Livia O, and she’s amazing. She’s also a photographer and we shot it at her partner’s apartment because he had a bunch of interesting decor and the space for us to take it over and set it up. I just love playing cards. It’s one of my favorite things to do and I do it with all my friends and family and I always have. I think there’s a lot of symbolism there in terms of leaving things up to fate or trying to have strategy but there’s only so much strategy can provide you in life and not in games. I think I wanted to capture this setting where I spend a lot of my intimate time with my friends. I have a lot of conversations at someone’s apartment, like playing cards or listening to music and talking for hours. I wanted to capture that in the imagery. For the live show, I want to make it as big as possible when it can be. I think the album is overall a pretty intimate experience emotionally. It was just all the more special that Livy shot it because she is one of the most important people to me and so talented, so it also was part of wanting her influence and framing.
Catch Sabrina Song live on the Late Start Tour with Carol Ades before it concludes in December. Buy tickets here.
Check out all of Samantha’s photos from the show below.
If there is one album that helped make Isaac Brock and his band Modest Mouse a household name, it would have to be 2004’s Good News for People Who Love Bad News. The band returned to Boston on November 19, playing the album’s 20th anniversary tour to a packed room at MGM Music Hall at Fenway. They exploded onto the stage, unleashing a front-loaded album setlist that included “Float On” and “Ocean Breathes Salty” in the first few tracks of the night. Much like listening to the beloved recording, getting the hits out of the way allowed the audience to soak in some more sensitive tracks later in the performance including “The Good Times are Killing Me” and the crazy finale of “Cowboy Dan.” What a way to spend a Tuesday night! The Black Heart Procession supported.
I DONT KNOW HOW BUT THEY FOUND ME (stylized in shorthand as iDKHOW) spent their Friday evening with a sold-out crowd at Big Night Live. The SLC group, led by Dallon Weekes, released their highly anticipated sophomore outfit, GLOOM DIVISION, this past February on Concord Records.
Rising from the ashes of other bands, including Panic! At The Disco, Falling in Reverse and The Brobecks, Dallon Weekes started iDKHOW in secret with former Brobecks drummer, Ryan Seaman. Weekes spent his spare time writing the skeletons of songs before bringing them back to Utah to flesh them out with Seaman, turning each one into its own eclectic arrangement that would come to define the sound of their band.
Weekes and his band took the stage and immediate command of the room as they ripped into “Leave Me Alone” off their debut LP. It was clear from the setlist that Weekes took care with curating a show that covered the entire span of their discography, even including a couple popular songs from his days in The Brobecks. “We’re going to take a break from the invisible piano and saxophone players to play some old songs with just what you see here on the stage,” Weekes said as he introduced his band and segued into “Cluster Hug.” They played another Brobecks song, “Visitation of the Ghost,” but added some modern twists, teasing “HOT TO GO” and “Please Please Please” before getting back to the song and wrapping their sold-out show with a bang.
iDKHOW continues in the IMPENDING GLOOM tour through the midwest before closing out in Omaha, NE right before Thanksgiving.
