The inaugural edition of Saddest Day Fest went down on Saturday, December 13 at Roadrunner in Allston, featuring a full day of incredible heavy music and local vendors. The festival was curated and headlined by Converge, Boston’s metal heroes. The band are arguably the biggest metal group to ever come out of the area, and certainly one of the most acclaimed. They rounded up a bunch of groups consisting of fellow lifers that they’ve toured with and younger groups they’re excited by for a rousing, rollicking day of music.
For a first time festival, the day ran pretty smoothly. All nine bands played on a stage set up in front of the main stage. The actual stage was behind a banner and housed the gear for all the bands. The timing was a little off as some bands ended early and others started late. However it was not a particularly frustrating adjustment, the ship mostly steered on course. Upstairs in Roadrunner was a number of vendor and art booths selling merch, thrifted clothes and mountains of vinyl records. It was a good way for people to take a break and support some local businesses. Everything remained fun, as evidenced by couples dancing to Christmas songs between bands. Full of Hell soundchecking while the Alvin & the Chipmunks song played was one of the more surreal moments of the year.
Although the festival was a celebration of friendship and the successes of these bands, it was also a celebration of left-wing politics in metal. The genre remains conservative, so to bring together a full day of left-wing bands was a rousing endorsement of good politics in metal. Soul Glo singer Pierce Jordan came out in a Chris Dorner t-shirt and musicians from both Coalesce and Stress Positions had anti-ICE shirts on. Planned Parenthood had a booth, and rallying cries of “fuck ICE” and “free Palestine” fell to massive cheers throughout the whole day.
The riffs came immediately at 3:30 with Wormwood taking the stage, playing to what was already a respectably sized crowd. It was an interesting way to kick off; in a day filled with fast music, Wormwood were the only band playing more doom-inspired songs. Though officially billed as black metal, the Swedish group took inspirations from stoner metal as well, creating songs that were predictable in punishing riffs, but unpredictable in structure, length and tone. It was a fun set and got the fans off on the right foot.
Chicago hardcore punk band Stress Positions followed, who promptly put on one of the best sets of the day. Singer Stephanie Brooks came out in a full hooded tracksuit for the first song but quickly derobed. Brooks was one of the most theatrical singers in a day full of energy, throwing herself around the stage while screaming through songs from the band’s recent album Human Zoo. Those that got to the festival early got a real treat and a number of new fans were made.
Year of the Knife were next, bringing their riotous hardcore/grindcore melting pot up from Delaware. They were maybe the most down-to-earth group of the day, in the most unassuming attire and with the least on-stage motion, which if anything was a good break from the manic energy of all eight bands before and after. Singer Madison Watkins dominated the stage, screaming through the band’s whiplash tracks. By this point, the crowd had grown sizable and rowdy, so the band’s manic metal played right into the energy.
Soul Glo theoretically represented a break in the action, as their blend of rap-rock with punk isn’t necessarily as rapid-fire as the bands surrounding them on the bill. But there was no dip in energy. The Philly-based band brought nothing but heat, pounding through tunes from their instant-classic 2022 album Diaspora Problems. This was roughly where the crowdsurfing truly began, the band’s punk energy brought out the slamdancing in everyone. Once the crowdsurfing started, it never stopped until the end of the night.
Maryland’s Full of Hell followed, who had potential for the most cacophonous set of the whole night. They indeed delivered a nonstop onslaught of chaos. The band mixes grindcore with experimental metal and sheer noise in an ongoing effort to create the loudest music possible. The group pulled from their dense catalog, with singer Dylan Walker flailing all around the stage so rapidly that he couldn’t always be seen. The band is a rising force in metal, and put their stamp on the genre on this day.
Hometown hardcore heroes The Hope Conspiracy took the stage next, representing a true veteran presence. Like multiple other acts, singer Kevin Baker talked about how critical Converge was for their band, taking them on their first big tour. The band has a little more of a traditional, Boston street-punk sound and attitude which was a welcome break from the grindcore and not out of place at the same time. The band is 26 years deep, and although they only have four albums to their name, they had quite a collection to pull from.
Coalesce got a huge stage to perform a victory lap, although their set was stunted due to some unknown delays. The Missouri metalcore vets have only played a handful of shows since their initial 2010 break-up, so their presence here was a huge deal. Coalesce have had some legendarily chaotic live shows, and although age and stage may have prevented the craziness of their heydays, it was still a wild set. They covered Minor Threat’s “Seeing Red,” brought out Stephen Brodsky, and debuted a few new songs – marking their first potential new music since 2009. So many crowdsurfers ran on stage that the band got crowded, but they powered through with some mathcore brilliance. [Editor’s note: Allston Pudding has been made aware of recent misconduct allegations against Coalesce guitarist Jes Steineger, which came to light after this piece was finalized. AP does not condone nor tolerate misconduct of any kind. Please read here for more info.]
Touché Amoré took the stage next, to a nearly rabid audience. The Californian post-hardcore group has a massive, devoted fanbase, and they arguably had as much of a crowd as Converge did. The band was playing tunes off their 2024 album Spiral In A Straight Line, and songs from four of their previous five albums. To say they had the crowd in the palms of their hands was an understatement, the building could hardly contain the raucousness. Mosh pits, stagedivers and a massive crowd all screaming along – it was a set for the ages.
Finally, after a long day of almost non-stop metal, the local legends Converge took the stage. The band is teasing a new album, their eleventh, out next month. They opened with the title track “Love Is Not Enough,” and premiered “We Were Never The Same” during the set. They played 22 songs, touching nine of their albums (including Enough), and one song off their 1999 split The Poacher Diaries. At one point, they brought out Full of Hell to play “Axe To Fall” – surprisingly, this was the only guest appearance that Dylan Walker made on this day, as he’s recorded with a few other bands on this line-up. During the encore – predictably, “The Saddest Day” – singer Jacob Bannon appeared emotional, ecstatic that they were able to pull together such a fulfilling and rousing day of music. While Converge were curators and stars, the day was about those who influenced and were influenced by them, with an all-around celebration. Bannon stated that this is not a one-off, something also confirmed to me by bassist Nate Newton.
It’s marvelous that Saddest Day even got off the ground. Converge drummer Ben Koller apparently got into a bad car accident days before the festival, and both Year of the Knife and Full of Hell were playing their first shows after lineup changes. But the festival went cleanly, and everyone in attendance can say that it wasn’t the Saddest Day at all.
Boston folk rock bards The Croaks have been relatively quiet since the release of their excellent sophomore EP Menagerie back in mid-summer. However, co-fronter Anna Reidister has been readying hushed, in-the-room ambience folk proper under the nemarca alias (who astute readers will recall opened our Left of The Charles fest with Brighton Bazaar back in October). We are pleased to bring you the the project’s single out today with a #rare Sunday post on the Pudding. Working in a studio (Beartone Studio in Waltham to be exact) for the very time, “111” is a ruminative, icy slice of solo guitar, echoing drone, and vocal trickery. nemarca plays a simple finger-picked riff, then doubles and triples it while layering at least as many vocal tracks on top to build a sort of chorus of loneliness.
nemarca had this to say about the track:
“The song is an exploration of what living in Boston felt like at the time I wrote it: cold, repetitive, lonely. It’s a dramatic breakup song, but it was how I was feeling at the time. I’ve got big feelings. It might be the most honest song I’ve ever written.”
Allston Pudding #1 in the world babby best in the biz
As always, we the various members of Allston Pudding each picked our favorite non-local music from the past year: we’re talking albums, songs, gigs, and then everyone makes up a category of their own. It’s fun!
Sharon Van Etten’s voice is like a knife in my gut. She could be singing random words out of the dictionary and it would make me cry 100% of the time. Her seventh album sees her welcoming her backing band into the songwriting process for the first time, and the end result is a “rock” record. Really, it’s that the music plays as much of a role as Van Etten herself. She still shines through on every song, but the songwriting is fuller here, and the collaborative effort is genuinely noticeable. The acoustic guitars are largely ditched for synthesizers, itself a huge change-up for her catalog. There are refreshing new elements that only enhance the tried and tested, beautiful vocals. Get the tissues out.
“Cinderella” is here for multiple reasons, one of which is Most Concerning Verse of 2025. You’ll know it when you hear it. Model/Actriz are a totally unique band, vaguely post-punk but with doses of both dance and industrial. Their second album was a lot less dense than their debut, focusing more on the dance elements, but the lyrics are no less emotionally raw. This is a hyper-intense song with some ominous music, yet it is hypnotically rhythmic and easy to groove to. Oh, and it focuses on the often-unexplored lyrical topic of childhood loneliness, in case you thought it was fun.
Live Show of the Year: MCR @ Fenway but that’s boring so Intac @ Zone 3 [this is my full answer]
“Goodbye Stranger” in Magnolia, “Street Fighting Man” in Mean Streets, the perfect needle drop can enhance any movie scene. And as an unabashed Slipknot fan, I’m delighted that “Wait and Bleed” powers up Friendship TWICE. It’s the obvious winner for this yearly award.
The Tubs make fast, jangly guitar pop the way only Brits can. The band grew out of the defunct Joanna Gruesome and kept that project’s love of exciting garage-y tunes central to their ethos. Their second album Cotton Crown improves on everything that made their debut Dead Meat so good—the vocals are clearer, the sonic pallette more varied, the melodies catchier, and the riffs on this thing would make Johnny Marr blush. There’s not one moment on Cotton Crown that hasn’t been stuck in my head at least once this year.
After years in the DIY trenches and yet more years as a beloved and influential indie rock fixture, Alex Giannascoli is now a major label recording artist. On “Afterlife,” his first single for RCA, Mr. G goes for a sound that’s as big and bright as the light at the end of the tunnel. Chiming mandolin, pan-flute synth, and driving, square-dance drums lift Giannascoli’s warbling melody beyond the clouds and up into heaven. The lyrics are classically (Sandy): poetic, rich with feeling, darkly warm. “We were clean like kerosene / candy and porno magazines.” More than just a comeback single, “Afterlife” sounds like the song Alex G has been waiting his whole career to write.
Live Show of the Year: Friendship / 2nd Grade / Jake McKelvie @ Deep Cuts
It’s hard to believe that Deftones would release their best album 25 years after the smashing success of White Pony. Every release has something special on it, but I’ve found that Private Music is special through-and-through; each song has at least one stand-out part that segues perfectly to the next moment. There were times spent listening to this album where I would tune out for a few minutes just for something new to catch my ear, even if it was the same part I’d heard fifty times before
Charmer released their inaugural LP this year after signing with local legends Counter Intuitive Records, and it proved to be a massive step in the right direction. The band has never written a bad song, but it was pretty clear from the singles that they have hit their stride and are now have the support of CIRecs to make the music that they want. With that newfound confidence, Charmer casually dropped their stand-out track “Medicine,” which is snuck in right after the breath-catching “Swords Dance.” Hard-hitting and driving, “Medicine” is a serious testament to what the Michigan natives are capable of, and I’m looking forward to what comes next for them.
Live Show of the Year: Touche Amore at Wanna Hear It Record’s Fifth Anniversary, also Intac at Zone 3
Best use of an Elliot Smith song: The Chair Company – Episode 1
I gotta figure out how to make money on this – it’s simply too good.
Jensen McRae is a self-proclaimed student of the Taylor Swift School of Thought, and her honest lyricism and wit is on full display throughout I Don’t Know How But They Found Me! She writes deeply personal and specific songs that still find a way to be universal; everyone can find something within them to resonate with even if it’s just the emotional depth. Highlights include “Massachusetts” of course, a song about a man from Massachusetts having a grip on you even years after a break up. I wonder if we’ll ever know which town he’s from. McRae stretches her vocal range masterfully in songs like “I Don’t Do Drugs” and “Daffodils” and even enters what I call her pop punk phase in “Let Me Be Wrong.” There’s a bit of every vibe throughout I Don’t Know How But They Found Me!, but every song feels undeniably soul crushing in the best way.
Call it recency bias if you want, Gaspard Eden late-breaking, quietly released follow up to 2020’s Soft Power has topped my favorite albums of the year list. With eight tracks of boldly crafted Beatles meets Elliott Smith psychedelia, Crooked Lines starts off with the strawberry fields kissed “First Wave,” followed by the jangle poppy “A Brand New Color,” and it just gets more adventurous from there. The lead single “Alien” threw me for a loop initially, however in context with the rest of Crooked Lines, it integrates smoothly. Let’s hope we don’t have to wait so long for another album from the Quebec City singer-songwriter.
A true testament to a great song is when it works just as well stripped down as it does on the studio version. Oasis are to The Beatles as The Backfires are to Oasis, and Noel should be mashing his head against the wonderwall for not writing this banger. It’s almost impossible to sing like Liam (just ask Liam) but lead singer Alex Gomez has done it here, delivering a captivating vocal laid bare for maximum effect in this studio performance. I hope they give this unplugged version a proper release on streaming so I don’t have to jump into IG every time to listen to it.
Live Show of the Year: Father John Misty @ MGM
Best recent example of why your indie band doesn’t have to leave New England to become successful: Dari Bay – Longest Day of the Year (2025 rerelease on Double Double Whammy)
Hats off to one of the hardest touring bands in the biz, Dari Bay. 2025 saw the Burlington, Vermont indie rockers get a boost from their 2023 album, Longest Day of the Year, which got rereleased by the taste-making record label Double Double Whammy. New England indie bands take note, you don’t have to move to New York, LA, or Nashville to make it.
Listening to UK rap phenom Jim Legxacy can be a dizzying experience. A deft producer capable of fitting what feels like the entire internet into a sub-3 minute blast of euphoria, Legxacy assigns raw materials (a twiddly emo guitar lick here, a blast of 2 step there, bass boosted funk somewhere else) like a puzzle master, ensuring his beats are always hyperactive, but never imbalanced. He’s equally deft behind the mic, skipping around the drums like a DJ slipping loops or turning from a wounded and note-perfectly tuneful croon to tough talk within seconds. The world of Black british music (2025) is one in which you hear about trapping to Mitski and think nothing of it because you’re too busy running back the movie trailer voice bloke cutting in with the funniest lines on the whole thing. Nostalgia is obviously part of Legxacy’s alchemical brew (see the hilariously faithful landfill indie era/FIFA soundtrack rip “’06 Wayne Rooney” and it’s perfectly rendered music video), but what Legxacy achieves here more than anything else is the supposed promise of post-internet culture. Unlimited access to (and absorption of) virtually everything online begetting something entirely new from what’s been forgotten.
If 2025 was the year Pittsburgh started to challenge Philly for the mantle of the Keystone State’s indie rock (or at least shoegaze) epicenter, then one of the major players in the bid has to be forty winks. Their debut EP Love Is a Dog From Hell is a breathless, sub-12 minute blast of caustic guitar abuse and sparkly freight train melodicism that places equal emphasis on destruction and capital P pop hooks. The whole thing is a thrill ride, but it’s “commie bf” I keep running back over and over. Landing somewhere between like deep fried sassy post-hardcore and that end of the digicore/hyperpop spectrum that really fucks with VST guitar pedals, the song kicks off with hair metal-y pinch harmonics played at warp speed and just sorta never stop careening against the walls like a racecar that just blew out a tire. The chorus somehow feels both like it’s in halftime and like they’re outpacing each other at the same time while fronter Cilia Catello detonates a helium voice octave so high it would send that hellhound into fits. Just otherworldly stuff.
Live Show of the Year: Every show we threw this year at Zone 3 even the one when it rained and i had a panic attack
NTS Radio is a literal godsend for deep listening geeks like me: there are entire monthly shows dedicated to everything from turn of the (last) century jazz to private press post-punk oddities to furious rave (and likely every single thing in between). French ambient producer Malibu (who also made one of 2025’s very best LPs in the field with Vanities) programs my absolute favorite show called United In Flames. Moving between saucer-eyed trance, early aughts R&B and hip hop, contemporary club and ambient, pop music of every era, indie rock, and her own edits of all the above, Malibu also often bleeds field recordings, sound effects, and other digital ephemera into the mix to create an atmospheric slurry of sound that’s both oddly soothing and deliciously psychedelic. Which is to say it’s the perfect hour or so to just let your brain go anywhere else but work. It also feels like another distinct strain of the Malibu cinematic universe alongside her solo work and the nostalgia driven multimedia edits of belmont girl and dj lostboi. My favorite episode this year had the similarly-minded Australian techno DJ/producer JamesJamesJames aboard aboard as well, a perfect foil for one of the headiest things on the internet.
If you need the rundown on what makes the London octet’s follow-up to their debut album so special, it is a beautifully complex 39-minutes where their ambitious undertakings pay off. If you’re wildly engrossed like I am with caroline 2, you’re going to hear influences from the past take shape: the polyrhythmic patience of a Steve Reich composition, the dysfunctional Chicago School post-rock logic from the likes of Joan of Arc or a Storm & Stress album, conjoined with Phil Elverum’s low-fidelity intimacy and the euphoric indie big-band maximalism of Broken Social Scene. caroline’s enigmatic strides are unexpectedly weightless, offering songs that appear texturally gentle on the surface that unfold in many twists and turns. caroline is part of a new wave of outwardly experimental contemporaries in London – Mica Levi’s Good Sad Happy Bad, the anonymous neo-soul collective Sault, or the flickering math rock trio Still House Plants. caroline is the rare band where their explorative instincts demand your full attention. Their brand of sparse post-rock is soulful and hair-raising in its most intense moments. caroline 2 the rare, inventive post-rock album that scorches with a quiet radicalism that naturally mesmerizes you, feeling so rewarded and life-affirmed once it ends.
It seems like the Danish singer-songwriter’s gold streak will never come to an end, as “Delusional” feels like an instant classic. de Casier’s flirtatious and obsessive personality she airs out paired with this floating trip-hop instrumental recalls the silky sensuality of Love Deluxe-era Sade, the sexy radicalism of Voodoo-era D’Angelo and shining danceability of The Velvet Rope-era Janet Jackson. Recontextualized for the new generation’s sense of love and what it means to be devoted versus delusional is outstanding as a single from her latest album, Lifetime, released this year. It’s impossible to ignore de Casier’s swagger here, especially when that horse neigh sample from Cypress Hill’s “Insane in the Brain” slips in and out in a song already so confident of itself.
Live Show of the Year: YHWH Nailgun @ The Middle East (Upstairs)
To the delight of every listener, Djo, the musical project of Joe Keery, returned to The Crux for another bite, releasing 12 more stellar songs on The Crux Deluxe. These new tracks display an edgier, more self-assured tone through experimental sounds and punchy lyrical choices. Crunchy and jabby track “Mr.Mountebank” borrows from one of his inspirations and Laneway Festival touring partners, Charli xcx. It is his first time using autotune as an instrument and a plot device. Djo, a certified vocal chameleon, cleverly used it to express his feelings about the money-hungry industry’s response to his 2022 megahit “End of Beginning.” Album closer and 21st century standout track, “Awake” borrows from rock’s best. The contemplative, haunting first half edges toward a head-thrashing, cathartic release that leaves listeners buzzing. The Crux Deluxe is a 24-song album that is made to be savored and pairs perfectly with the standard edition.
Post Animal’s “Maybe You Have To” is an incontestable standout track of 2025. Elements ranging from an addictive walk-down bass pattern to resonant low vocals to haunting guitar melodies leave listeners ruminating on the track even hours later (not days, because to satisfy this craving, you must listen again immediately). It is a masterclass on how weaving humorous moments, such as a lyric delivered like a cockerel screech about midway through the track, into a deeply personal song creates an access point for the listener to find joy in sharing in that vulnerability and relating the subject to their own lives. Framing the song with a tear-jerking voicemail from drummer Wesley Toledo’s abuela at the beginning and end connects the listener to the message of living a life you find fulfilling and telling your loved ones how much they mean to you while you can.
Live Show of the Year: Twenty One Pilots @ Xfinity Theatre
Favorite New Alter Ego: Mr. Fantasy
It’s been a big year for singer and poster boy for whimsy, Mr. Fantasy. Along with sparkling pop tracks like “Mr.Fantasy” and “Catapult,” which are fast-acting earworms, the sense of childlike wonder Mr. Fantasy moves through the world with inspires others to follow suit. Everyone could use some more moments of unadulterated joy and encouragement to be unapologetically oneself, and his mission is just that. This persona, rumored to be actor KJ Apa, only launched this year, and he already has a brand partnership with Chipotle and Tinder, performed at the Macy’s Thanksgiving Day Parade, and galavanted around town with the world’s biggest celebrities.
Harry Gustafson
Album of the Year: Dijon – Baby
Song of the Year: Rosalía ft. Björk and Yves Tumor – “Berghain”
Live Show of the Year: Oasis @ Soldier’s Field (Chicago)
We did it folks, another year in the books, another big list of killer local music. Our staff got together and tried our best to make a comprehensive list of what we believe to be the 30 best albums that artists from Boston and New England released in 2025.
This process is never easy. We start with a list of ~70 releases and everyone involved sits down to listen through the full list. It’s fun, but arduous. We try to throw in as many differing genres as possible, to make sure we’re capturing the diversity of culture and sound of our local artists. Then, we vote.
Old favorites, new artists, returns to form from scene legends, hotly-tipped releases we caught wind of late and album cycles we helped kick off. This list feels very indicative of the spirit and energy of the New England music scene at large, which is to say: warm, inviting, and progressive in taste.
Looking back on Allston Pudding’s 2025 there’s a lot to be excited about. This was the year we returned to LLC status as a unit, this is a year in which we threw 21 shows, most of which were free and all ages (including a two-day festival that crushed the venue’s previous attendance record so thanks for that), and it’s also a year in which we gained some incredible talent on the staff side. We covered shows from basements to O’Brien’s to TD Garden and back again, traversing genre, style, and country of origin to bring you our shared vision of what music journalism could, and should be. We also gave more thought than ever to our digital footprint, crafting features and graphics that helped bring these stories to life. We turned 15 years old this past November as well, and there will be plenty more celebrating about that milestone in the new year, so stay tuned for that.
At the end of the day, local music will always be the north star of this publication because Allston Pudding is really just a group of individuals who really love supporting local artists. We believe that this city’s music scene is really where it’s at. We see so much passion and dedication from the artists here who try to create spaces for art and creativity to thrive. It’s never been more vital than now.
Make sure to support local artists by buying their music, merch, and tickets to THE GIG. See you out there.
ALSO we’d be remiss not to give a hand to Boston rockers Hallelujah The Hills who released a 5xLP (!!) this year inspired by the 4 suits (plus jokers) of playing cards as well as an equally stuffed greatest hits compilation so we’re giving them their own category here at the top for Hardest Working Band in Boston This Year. Congrats, gents.
(T-T)b is a Boston institution, which is to say these chip-tuned rockers have been at it a while, but the bangers keep coming. Their latest LP (and debut for the once again Boston-based Disposable America) is their strongest statement yet. While (T-T)b have always kept a foot in the digitized zone of traditional chiptune and another in guitar-forward power pop, Beautiful Extension Cord is at its best when they really let the guitars rip and let the programming trace the holes in the air. “Sugar In The Raw” is a punchy calling card with some choice guest vocals from Speedy Ortiz’s Sadie Dupuis (low key a Boston scene backing vocal MVP this year), but we’d be remiss not to big up the drone-y “Allston Christmas” as well. – Dillon Riley
How lucky are we that Alexander released another collection of smash hits? After topping our 2024 favorite projects list, it is only natural that his latest release, EP3 cements its spot in 2025. The crisp vocals, relatable lyrics, and signature rich instrumentation make this cohesive 4-track project a must-listen. He effortlessly weaves between dynamic distorted emotional highs and intimate aching melodies. Start with standout track and EP3 opener “Coyote Teeth,” and let the cathartic listening experience flow. – Samantha Davidson
Boston producer Atura has caused something of a storm of late, playing bigger and bigger rooms out of town while picking up support from legit big room producers like Porter Robinson and salute who’ve been rinsing his tunes in even bigger rooms. His Rebirth EP scans something like a victory lap for his biggest year yet, so let’s have it also be a stellar introduction to those in town playing catch up. Filtering classic French touch, hardgroove techno, and wide-eyed trance into a delicious blend that feels both achingly nostalgic and delightfully cutting edge, it’s about time the Bay State had some headline-grabbing homegrown club to rally around again. The two vocal cuts have that nice crossover appeal, but it’s the skyward JM Silk nod “Control” that could really move bodies in a hurry. – Dillon Riley
This year saw beloved rapper/songwriter/producer Devin Bailey retire their long-running Pink Navel moniker. The change was less a funeral and more a putting away of childish things as they told Allston Pudding. On their first release as Dot Dev, the name on the tin might be different, but it’s still the same great taste inside. Bailey charms with whimsical bars and toybox beats. Their poetry is deeper this time around, more concerned with mining the corridors of the psyche and vagaries of creation. There Was A Wind But No Chime is a big step forward for Bailey as an artist, one that sees them coming into their own more than ever before. – Ben Bonadies
New York-via-Easthampton’s Editrix combine tense, heavy punk sounds with an ear for sweet melody. Their latest, The Big E, is as fun and wild as the state fair from which it takes its name. Singer/guitarist Wendy Eisenberg has the vocal control of a prime Kim Deal and their band, Steve Cameron and Josh Daniel, absolutely rip it up behind them. The Big E is a frankly major work from one of our finest avant-rock acts. – Ben Bonadies
Few things are as pleasurable in this life as settling into a well produced 90s hip-hop album. The tasteful boom-bap drums, the well chosen samples, the easy flow of the lyrics—these are the hallmarks ERG ONE and producer Boneweso recall on their collaborative album The Life of Erg (co-starring Estee Nack). On the mic, ERG is as likely to drop casual flexes in the same breath as well-drawn regionalia. His plainspoken, syllable-dense style belongs alongside contemporaries billy woods and Roc Marciano. Boneweso’s production is similarly confident—pockety breaks awash in horns and strings that show exceptional attention to detail. Like a well aged scotch, The Life of Erg feels expensive and goes down smooth. – Ben Bonadies
Singer-songwriter and Boston lifer Ezra Furman’s seventh solo album is a masterclass in strength. The songs here are both heroic and vulnerable, a raw collection of art-pop songs that give a glimpse into a private life. The first few tracks are strong ballads, but they lure a listener in, as the album gets much grander after. Furman’s second album since coming out as transgender sees her tackling an increasingly hostile world with strength and brevity, opening up about mental health struggles while maintaining ownership of her identity. It’s a powerful album – but the music is often very fun, too. – Andrew McNally
Gold Dust is a supergroup now and that’s not counting the marathon J Mascis solo or the electric sitar he sneaks in the background. Featuring members of a whole host of formerly loved Western Mass bands covered on the very website, Stephen Pierce and co.’s beguiling psychedelic folk troupe just seem to get richer with every release. While In The Shade of The Living Light isn’t exactly a reinvention of wheel per se, Gold Dust adds some neat coloring around the margins to bolster their strongest collection of songs yet. The expansive “An Early Transition of a Later Work” reveals itself slowly, hanging on an almost ambient country-esque drone before the band kicks in around it, while the brisk instrumental “Traveler Stay’ plots a point on the map somewhere between medieval British folklore and blues-y Americana. – Dillon Riley
Greg Freeman is back and ready to conquer the sophomore album curse with his latest album, Burnover. The Vermont-based artist’s signature blend of indie rock and country has earned national acclaim from publications and fans alike. Tracks like “Gallic Shrug” and “Salesman” boast a refreshing vulnerability, bringing the Northeast experience to a bigger stage. Make sure to catch him live at the RedRoom at Cafe 939 on 1/30 to see for yourself. – Samantha Davidson
It’s a little funny that Beeef fronter Perry Eaton christened his debut solo project Ivy Boy considering the maturity on display here. There’s a joyous ease that permeates these songs—eight originals and a jaunty update on the Be Good Tanya’s “The Littlest Birds”—that can only come with experience. He dispenses folksy wisdom and reflects on lost youth over music that is never hurried and confidently plots its own course. One generation’s “adult contemporary” is another’s tasteful soft-rock, and on Ivy Boy Eaton blends rock n’roll twang with singer-songwriter storytelling. Closer “Olive and the Gibber” is a mini-epic tracing the paths of two Deadheads, one who sells parking lot tie-dye and stays with the band through Jerry’s waning days and another who leaves the tour behind to seek routine and security. A more apt metaphor for the twin poles of being a musical lifer you are not likely to find. – Ben Bonadies
It’s been a creative journey for Ella Boissonnault to shift from the singer-songwriter realm to the rock arena. The former genre favors strong vocals, witty lyrics, and personality, which ironically lack in most Boston area bands (see: shoegaze). Now that Lady Pills have committed more time and technology into making a proper studio rock album, rare these days, they have found themselves with hooks aplenty, making Renowned in the Roaring Twenties their best album yet. The stand out tracks are the immediately engaging album opener “BN2B,” as well as “Call It (anything but what it is).” Boston stars abound with a constellation of features including Sadie Dupuis, Will Dailey, and Robbie Wolfsohn. Renowned in the Roaring Twenties leaves no stone (or drum fill, sax, synth, distortion pedal, etc.) unturned. – Dan Moffat
No longer just a (New England) heads concern, the recent Burlington, Vermont indie rock explosion nevertheless feels like a win for us all. Among those scene leading lights is Lily Seabird, who put out one of the best sounding rock records of the year in Trash Mountain. Written partly in tribute to a legendary house venue/artist sanctuary in town, Seabird paints vivid Green Mountain scenes here, exploring grief, success, homesickness, and other complicated emotions through songs that seem to reckon with what happens when your dreams actually do start to come true. While prior efforts upped the guitar crunch, Seabird pulls things back here, especially on sparser tracks like “Albany” and “The Fight” which pair down to just acoustic guitars, pianos, and hand percussion, leaving plenty of sonic space for her singular, distinctive vocal phrasing. – Dillon Riley
One of the freshest takes on the alternative/indie genre this year is Hank by Mingko. Listen to the gleaming album opener “Shakey” and you’ll hear how Mingko fits more ideas breathlessly into one song than most bands do on an album. The aforementioned song’s line “my friends all have anxiety but I just want to party” sums up the jubilant atmosphere of the raucous instrumental shifts and riffs ducking in and out of the fête. Mingko is unbothered and in their element, Palm-muted power chords on chorus-drenched guitars anchor the rhythm section and soft double tracked vocals float above the scene dancing before us. What we have is an exciting and immersive playthrough that chugs along with wild abandon. The eight brief tracks that average two and quarter minutes each can leave a fleeting effect on the listener. So fire it up again. – Dan Moffat
Mad Rap Verses 2 is one of many albums released by Nick Shea that always show his artistry as a rapper. With chopped-up beats, a constant sense of momentum is built up from track to track, giving it a feeling similar to stepping and shaking your head to every beat. A fair warning that you might find yourself shuffling around Downtown and finding Nick drawing people around the Common. A standout track features the moment in which he shows velocity and speed to “IShowSpeed” by improvising a piece on Speed’s IRL livestream around Boston, showing capability and confidence to create and speak lyrics to life no matter the condition. Not trying to be dramatic or perfect, the album explores different aspects of Nick’s life, he travels around past moments and experiences in his life through his lyrics, in tune with his surroundings. Rather than being centerpieces completely, he touches on them throughout each song. Mad Rap Verses 2 is a masterpiece of delivery, bringing the message and the vibes forward. – Kenneth Palacios
Be The Light On is a fitting title for Really Great’s sophomore record. Though shrouded in fuzzy distortion, this is a fun collection of forceful power-pop. It’s a warm and entertaining album, without ever dipping into saccharine territory. Songs like “Skateboard Amp” and “Sex Thoughts” push back against any modicum of innocence with boundless punk energy. These are songs about grasping onto optimism during the worst periods in life. Fast and loud, these melodic tunes are a healthy mix of indie, punk and warm poppy rhythms. It’s fair to say it – this album is really great. – Andrew McNally
When pop outsider Cooper B. Handy (LUCY) and Boy Harsher’s Augustus Muller formed Safe Mind last year, it came to no surprise but made perfect sense. Handy originally collaborated with the darkwave synthpop duo on their horror film-slash-album tie-in, The Runner, playing a role in the film and took on lead vocals on the fantastic “Autonomy.” Cutting the Stone feels like that necessary evolution for Muller and Handy, where Handy’s whimsy inflections and playful hooks effortlessly latch onto Muller’s ethereal synthpop production. Cuts like the lead single “6’ Pole” and “Standing on Air” wring out the best moments from both collaborators. Muller dashes into 80s dance music (from new jack swing to house) and gothic melancholy, paired with Handy’s quirked-up vocals that doesn’t fail to charm you. In certain moments, it is oddly reminiscent of the old Club Casualties material that slighted Handy into one of pop’s beloved weirdos of the moment. The end result is intoxicating: you just can’t help but be induced into a sweet, synth-soaked coma from Handy and Muller’s hooks and melodies. – Miguel Gonzales
In many ways, Salty Greyhound represent the best of the Allston basement scene. Their music is at once dense, idiosyncratic, and improbably catchy. Plus, they’re the only band I’ve seen this year with a singing saw. Alligators, their follow-up to last year’s reintroductory Salty Greyhound, pulls in all directions and more. It’s a hairier record than their last—more out-there on the poles (see: psuedo-ambient folk of “In All Seriousness,” the mathy heaviness of “Eyes in my eyes in my eyes in my eyes”) but cuts closer to the bone at the center. Psych-garage tunes “Cherry Pit” and “Fascinating” are some of the band’s most hummable and exciting cuts to date. Songwriters Maria Cuneo and Alex Judd have successfully created a sonic world where anything can happen but nothing feels out of place. – Ben Bonadies
Everyone’s favorite nepo-friends, The Collect Pond, released their rocking new album Absence of Something. Addictive crunchy guitar riffs, punchy drum fills, and scrumptious 80s echoing vocals flow across the 8 tracks. Each song boasts the elements of what makes indie rock a beloved genre, launching this project onto our radar whether or not 2 members of the band happen to be editors at Allston Pudding. Lyrical material spans vulnerable moments on tracks like “You Could Murder Again” and cheeky revelations on tracks like “Give Less.” The album closer features a generational collaboration, a remix with 2024 favorite Colin Domigan, making this project an auditory treat from beginning to end. – Samantha Davidson
Like the Roman emperor of the same name, the band Tiberius is content with the size of their empire, and they want you to know it. Tiberius’ breakout single “Sag” asserts their decision to remain Boston bound and avoid getting sucked down the pipeline to the ever alluring New York quagmire. While the bridge they take on “Sag” has clear notes of “Today” by Smashing Pumpkins, the real influence throughout the album Troubadour has to be Modest Mouse: frenetic guitar music with a twangy vocal and Americana instrumentation. And before you say I need to update my points of reference, know that I’ve seen the singer wear a Korn t-shirt. Tiberius are a rare breed, a live act that sounds remarkably similar to the recordings. Troubadour works as a sharp snapshot to one of my favorite local bands, which is enough to make me content with the size of the Boston music empire. – Dan Moffat
Tuxis Giant may have officially become a split New York/Boston band this year, but we don’t hold it against them. They also made their very best record thus far in You Won’t Remember This. Tuxis’ Matt O’Connor has long been an evocative writer, capable of drawing novel-like scenes with an economy of language that’s always inviting. O’Connor let more of themselves into frame on this go-around and the results are stunning, especially on tender, domestic slices like “Days” and “Family Funeral”. Folk and alt-country has been the group’s framework of late, and those modes lend well to these narratives, while also allowing plenty of room for robust instrumental interplay from the rest of the group, most notably with not-so-secret-weapon Eleanor Elektra’s nimble guitar leads and backing harmonies. While the more volatile moments of the group’s earliest works have edged away there’s something undeniably mightier in these quiet(er) triumphs. – Dillon Riley
Wooll and Pudding go back to day one, with their debut record Unwind. Where Unwind was very dreamy in a warm way, their sophomore record Thistle shows a few darker cracks emerging. I would still count this as something close to dream-pop, but it’s denser and gloomier than Unwind, working as a nice complement. It is still very pleasant music to listen to amidst the ominous undertones, like a comforting hug during a thunderstorm. Wooll manage to pull off the feat of being original while also sounding familiar, which give this album an immense replay value. – Andrew McNally
The intro to “Papa,” the opening track from Bily Dean Thomas’ first full length album in 5 years, reminds me a bit of “Angel,” the opener from Massive Attack’s masterpiece album Mezzanine. It draws us in with a low pulse which morphs into something intense and energetic. BDT’s work moves into different territory, but the comparison lives in my head whenever I press play on MX. One of Boston’s most versatile artists, Billy Dean Thomas can adjust their flow to fit just about any style of beat, but it’s the anthems on this album that stand out. Bombastic tracks like “Give Me My Applause” tell us what the rapper already knows: Billy Dean Thomas belongs in arenas. – Harry Gustafson
Hip-house has gotten a bad rap over the years (no pun intended), but the reality is that it’s a genre-match made in heaven. The boisterous swagger of rap mixed with the pulsing dance beats of house music? C’mon. Brockton native and Van Buren representative FELIX! (formerly Lord Felix) delivers just what we want with Industry Plant, a driving dance record that celebrates the artist’s impeccable and inimitable style, featuring contributions from Buddy, Sherwyn, Barney Bones, Bbyz, and Ashlee. Attetnion DJs! Please add “MARGIELA MADMAN” to your rotation. You’ve been notified. – Harry Gustafson
Listening to an Intac album and seeing the band live are fundamentally different experiences. The band’s onstage antics, while wildly entertaining, can sometimes distract from how adept the group is at writing tongue-in-cheek ditties like “That Boy Has Got a Nice Head of Hair.” Heads up though: the band decided to release the album exclusively on bandcamp, so you’re not gonna be able to stream on Spotify. And you shouldn’t do that anyway! An album thous good deserves your MONEY. – Harry Gustafson
Who’s ready to rock? Local metal heroes Converge announced back in July that they were curating a new festival, Saddest Day, to celebrate all things metal. Well, the Saddest Day is upon us. This Saturday, December 13th, Converge will headline a day full of riffs, screams and general amplifier destruction at Roadrunner in Allston.
We spoke briefly over email with Nate Newton, bassist for Converge and Cave In, about the festival.
Allston Pudding: What was the inspiration for this fest and how did you all go about assembling the lineup?
Nate Newton: We just wanted to put together a gathering with as many kindred spirits in one place as possible. Whether it be musically, artistically, or just simply deep friendship we chose all of the bands because we wanted to be around them for the day and wanted our audience to see them. It was really just about picking bands we relate to and admire.
AP: Are there plans to make this a recurring festival, or is it likely a one-off?
NN: We would very much like to make this an annual event.
AP: Do you feel that heavy music is having a moment, and is this an effort to promote it?
NN: With social media and streaming being so integral to the way we consume music now I honestly have no idea what is big and what isn’t anymore. I do however think that there is a lot of really fantastic music coming out of the underground lately and I guess we just want people to enjoy it as much as we do.
AP: What is the inspiration behind the new song and how does Converge find ways to stay urgent and unique?
NN: The realization that overcoming adversity requires more than platitudes. As far as our creative process goes, we have a golden rule that we all follow. Don’t make music we wouldn’t want to listen to. It’s really that simple.
AP: What can we expect from the new Converge album in full?
NN: I never know how to answer a question like this. I think it’s an exciting, invigorating listen. The most I can hope for is that it brings joy, strength, and inspiration to people.
AP: Personal question – will there ever be a Bloodmoon: II?
NN: We all very much want to explore that side of the band more. It’s just a matter of finding the time when all parties are free to completely immerse ourselves in the process. Hopefully that happens sooner than later.
Converge date all the way back to 1990, and have been representing the best of the city’s metal since their debut album Halo In A Haystack in 1994. They’ve never done the same thing twice, and attempting to reduce them to one subgenre here is futile. Their 2001 album Jane Doe is indisputably one of the greatest metal records of all time, and in 2025, the band is still going strong. They recently released “Love Is Not Enough,” the first single off their forthcoming 11th album of the same name. It will be their first album since 2021’s collaborative Bloodmoon: I with Chelsea Wolfe, which they also celebrated with a one-off show at Roadrunner.
This festival is absolutely jam-packed with punk and metal heroes. Fellow Bostonians The Hope Conspiracy, a hardcore punk band who also trace their roots to a pre-2000 landscape, will be playing at the festival as well. The group is promoting their great 2024 album Tools of Oppression/Rule by Deception, which was their first full-length in 18 years.
Post-hardcore legends Touché Amoré are also on the bill, in support of their 2024 release Spiral In A Straight Line. Amoré have long been one of the most popular and critically-acclaimed bands in the post-hardcore scene, and they will surely slot right in on a festival full of all things heavy.
In a line-up full of veterans, one can’t overlook Coalesce, a fellow metalcore band who have been going off and on since 1994. The band reunited last year, after playing only a handful of shows since 2010. They haven’t released any studio music since 2009, but did release a live split with festival curators Converge earlier this year. The band is known for their chaotic live shows, and although age and a larger venue may tamper those wild sides some, you can expect this set to be a festival-stealer.
Be sure to catch the sets by Year of the Knife and special guests Full Of Hell. These are two of the most exciting and unpredictable acts in grindcore today, and their sets should feature a number of short, pulverizing songs that will keep the energy going in the festival’s midsection. Both bands have impeccable catalogs to pull from, and will squeeze a lot of music into a short amount of time, so prepare your body.
Directly in between their sets is Soul Glo, a buzzworthy and exciting hardcore band out of Philadelphia that mixes rap, noise, and metal into their varied attack. The group represents a great change of pace, bringing a different kind of energy from the other bands on the bill and showcasing the future of heaviness, not just the veterans. It’s been a bit since they’ve released any music, but if we’re all lucky, we’ll get some choice cuts from their instant classic 2022 album Diaspora Problems.
Also on the bill are the melodic black metal band Wormwood and the Chicago hardcore punk band Stress Positions. Music starts at 3:30, so make sure to get there in advance to catch the full whiplash of bands.
The festival will also see a live art exhibit from Thomas Hooper, J. Bannon, Nightswim Project and more. There will be plenty of vendors, merch tables and booths for non-profit organizations to peruse as well. Bring a second set of earplugs, because Saddest Day stands to be eight straight hours of blistering metalcore, hardcore punk and grindcore, and you know each band will try to outdo the previous one. Saddest Day 2025 will be a victory lap for Boston’s best metal band, and a celebration of all things heavy.
Icelandic folk rockers Of Monsters and Men returned to Boston recently for the first time since 2019. The long wait was prolonged by the postponement of the original October 29 date until December 3. A direct result of the rescheduled show was an opener change: fellow Icelander Amy Margret was replaced by the rising Nashville-based singer-songwriter Josie Edwards. Of Monsters and Men highlighted their new album All is Love and Pain in the Mouse Parade, but also reached further back into their catalog with several fan favorites from their debut album, including the rarely performed “From Finner.” With the band and the crowd all smiles, the lyrics “we are far from home but we’re so happy” never felt more apt.
Check out all of Greg’s photos from the show below.
My friend texted me while he was mid-drive, shocked by the revelation that the line to Dijon’s sold-out show at House of Blues Boston on November 29th wrapped around the David Ortiz Bridge and stretched all the way to the 7/11 in Kenmore Square. You’d see crowds like this lined up for long-standing acts or chart-topping musicians, especially when they’re headlining Fenway Park or TD Garden. For the LA-based R&B singer-songwriter who has stuck with a rickety do-it-yourself approach to his music embracing improvisational scrappiness, sound collages and piercing dynamics in comparison to his contemporaries – to see and hear word-of-mouth that more than a thousand attendees are queued in line for Dijon feels surreal.
It’s no surprise Dijon is one of the prominent figures leading the futurist vanguard of R&B in a post-Blonde era – the unconventional, impractical attitudes and creative process are similar to what Frank Ocean curated with his own rollout. The 40-minute black-and-white visual companion of Frank Ocean’s second studio album, Endless, soundtracks the monotony of Frank Ocean building a spiral staircase in comparison to Dijon’s own 25-minute short film for his debut album, Absolutely. The patient-testing and confusing Endless visual differentiates from the theatrically intensive circle jam session Dijon and his collaborators have. Playing live versions of tracks from Absolutely such as “Big Mike’s” and “Many Times” sees the group riffing off each other, moving around the messy, wire-covered wooden table they crowd around as they let loose. The big takeaway here is the creation of a great spectacle of yourself as a creative force, a talent, a musician – so much so that those curious of the spectacle stay in line for hours just to see you perform. It must feel incredible.
This year was busy for Dijon: he dropped his sophomore album Baby, worked closely with pop hitmaker Justin Bieber and indie treasure Bon Iver lending out features and production (leading to his first nomination at the 2026 Grammys Awards for Non-Classical Producer of the Year), and made his acting debut in Paul Thomas Anderson’s One Battle After Another. Him embarking on a huge North American tour for Baby is proof Dijon isn’t stopping one bit.
Above Dijon and his backing band’s gear and instruments, multiple beams of harsh blue illuminate the House of Blue stage as everyone slowly trickles into the venue. Twenty-somethings stand around wearing thick vintage construction jackets and young teens try to squeeze their way through the front; the chatter progressively getting louder and excitement grows. As attendees stood around, they were greeted with an eclectic intermission playlist that swerved in different directions. You’d hear the refreshing sophisti-pop goodness of Prefab Sprout’s “Wild Horses” going into John Martyn’s romantically soft “Couldn’t Love You More,” or Theo Parrish’s thumping “Sweet Sticky” and the Pacific lovers rock of J Boog’s “Let’s Do It Again.” Dijon was putting everyone on, giving the audience something to bump their heads and sing along to.
As the harsh blue swiftly dissolves and a white light quickly radiates from the bottom center of the stage, Dijon and his backing band walk out to Bobby Wright’s “Blood Of An American.” Once they wave to the audience and finish maneuvering around the stage to their places, the music is abruptly cut and comes to a pitch black. Long-time collaborator and drummer Henry Kwapis leans toward a crash cymbal on a tall cymbal stand, then proceeds to tap on hi-hat and the rim of the snare – the reverberated sound flooding throughout the room. Kwapis dials up the tempo, while Michael Haldeman’s compressed, overdriven guitar explodes like bursts of lightning in the air. Haldeman proceeds to play the beginning riff of “Many Times” as Dijon turns around, clasps onto the mic stand with both hands and leans in to blitz through the fast-paced version of the song. Just by introducing the frenetic energy and shattering sound design within the first few minutes, Dijon and his backing band never loses the chaotic momentum they’ve established throughout the 90-minute set.
There were many enticing audiovisual elements: the liminal white lighting of these pseudo-lampposts spread across the stage, the backing band arranged in a jam circle as Dijon is strategically placed in the middle, the flickiering samples from Dijon’s soundboard, the pulverizing effect pedals near bassist Daniel Aged and Michael Haldeman that disorient you – the setup was on-brand for Dijon’s aesthetic presentation and narrative vision for Baby. It doesn’t feel confrontational or for the sake of looking chaotic, but Dijon channels a sonic volatility that comes from a place of genuine sincerity and pure love.
The live rendition of “Another Baby” felt unreal. Aged’s bass tones swarmed, Jack Karazewski’s synth notes swiftly bounced in-and-out, while Kwapis’s compressed drums boomed and Haldeman’s guitar tones roared to the point where you could feel it puncture through your chest. Whenever backing vocals from the Mulherin twin brothers (Marshall and Parker) and Amber Coffman of Dirty Projectors came in, Dijon’s vocals became a choir that belonged in the highest of echelons. “(Referee)” was another standout moment, where Dijon and his band loosely rearranged the structure of the song – the lyrics, how chaotic it sounds, the heavy reliance on effects, and so on. Dijon plays from his black electric guitar as he wispily sings, while an occasional cavernous echo comes in-and-out from his vocals. Sound bites of pure noise come through every other measure as Dijon’s voice becomes more distorted and unrecognizable, up until Dijon jumps into the second verse where the song explodes into a crunchy riff from Haldeman – eventually coming to an abrupt resolution. “FIRE!” is dynamic to me, though it pales to be one of the least intense songs from the set. What drives “FIRE!” is the IDM-esque programmed drums that drone for about a minute until Karazewski’s synths come in. The subtle booms, the prickling clicks, and the rippling hi-hats – they’re arranged like something out of a Squarepusher album, yet it sounds incredible. As Dijon’s singing eventually dissolves, the backing band continues to play “low-key” though the monitors dangling from the ceiling are rattling, crackling, and punching outward.
Chaos didn’t engulf the entire set, as Dijon included more intimate and crowd-pleasing songs in the setlist. The variation bewilders me between the live version and the album version of “Kindalove,” where an airy one-note synth drone sets the stage for Dijon’s crooning. Whirling guitar tones from Haldeman gently swirl over Dijon’s bittersweet gratitude for the complete love he feels. After Dijon wrings out a gentle “Kind of love,” the band graciously dishes out a beautifully slow-paced slow jam, the live version washing the audience in a sentimental mood. “The Dress” was a fan-favorite and more in the same vein of a slow jam, where the backing band temporary strips away from the maximalist sounds and slips into something more laid-back – some 80s synth pads, more swirling guitars, the gentle hi-hat taps, snare hits drenched in reverb make for a great backing for Dijon’s vocals. When “Nico’s Red Dress” landed on Dijon’s lap after Haldeman was practicing the song, Haldeman promptly stopped, but Dijon insisted on him to continue. It led to easily the most bare moment of the night. The ghostly backing vocals from the Mulherin brothers and Coffman as Dijon’s vocals would get louder while Haldeman kept the rhythm steady with some gentle guitar taps and the occasional bass note piercing through was the perfect concoction. It was like watching Dijon have his MTV Unplugged moment. It was not necessarily acoustic, but quiet enough where the stripped-down nature and vulnerability of the song resonated with everyone in the crowd who sang along.
The messy collagist approach Dijon takes for these songs translate so seamlessly into a live setting. Dijon and the backing band still undergo this improvisational spirit where the few imperfections, out-of-order sequencing and noise become part of the performance, which rings to me as oddly humanistic. Nothing felt out of place, nor accidental.
When Dijon and the backing band came out for the encore, nobody expected the emotional sweep that followed. Transitioning from “Big Mike’s” to “TV Blues” to “Rodeo Clown,” it was a pleasant revisit of Dijon’s past discography. The slow intimacy of “Big Mike’s,” the glistening and reflective “TV Blues,” and Americana sadness of “Rodeo Clown” closing off the night left everyone suspended in a melancholic daze. When “Rodeo Clown” resolved to a dramatic crescendo, it transitioned into Keith Sweat’s “Nobody,” pitched-up to match the key of “Rodeo Clown” while Dijon and his backing band walked off stage. When this unexpected change-up happened, everyone chucked it up and embraced it. It was a very Dijon way to end the night.
New Zealand sweeties The Beths returned to Boston for a sold-out two-night run at Royale this week. Fresh off the release of their fourth studio album, Straight Line was a Lie, they played an eclectic mix from their discography as well as a few seasonal singles. Elizabeth Stokes and her bandmates charmed the audience with hooky riffs, surprising everyone at different intervals by pulling out neon plastic recorders from a custom sleeve on stage. The newer, more downtempo songs like “Mosquitoes” and “Mother, Pray for Me” mixed well with classic bops like “Silence is Golden” and “Jumprope Gazers”. The crowd was eager to dance all night, obviously at the onset with “No Joy” but more interestingly through a cover of “Have Yourself a Merry Little Christmas”. We hope they come back soon!
They were supported by fellow kiwis Phoebe Rings.
Check out the rest of Wendy’s photos from the show below.
Hometown heroes Couch celebrated their debut album Big Talk with flair by filling Roadrunner with family, friends, and fans on November 22. The sold-out show was the indie retro-pop band’s largest headlining show by a huge margin. Opener Stephen Day was joyfully greeted by the excited attendees, and that enthusiasm was a throughline across the night. Couch rose to the hype with a punched-up production to emphasize their boundlessly energetic performance of Big Talk and other highlights like “Still Feeling You” and “Easy to Love.” For both Couch and the crowd at Roadrunner, that Saturday evening was surely one to remember.
Check out all of Greg’s photos from the show below.
November 19, 2025. KATSEYE performs “I’m Pretty” at MGM Music Hall in Fenway. Photo by Kenneth Palacios.
Bringing stunning visuals, vocals, and choreography to a cold Boston night, KATSEYE delivered a show that felt bigger than the room could contain. Not only was their performance electric, but the crowd matched the intensity with screams and movement that amplified the energy in the room. The global girl group, known for their K-pop-inspired performance style and their multinational members, were initially formed by a reality competition series “Dream Academy,” which would later become the docuseries “Popstar Academy: KATSEYE.” These two series would capture the upbringing and process that led to the members reaching the point where they are now, ranging from competitive auditions to intensive training.
Since determining the group’s future members in the Dream Academy competition, the group has turned 2 years old. Currently, they are on tour around the U.S. on their “Beautiful Chaos” tour in support of their most recent EP, Beautiful Chaos, released in June. Boston marked their third stop on the tour, and it sold out just like every other stop.
From opening their show with “Debut,” their debut single to ending out the show with a performance of “My Way,” every single song brought iconic dance moves and extended breaks to finish off every song, leaving all of the Eyekons cheering and locked in until the very end of the show. Moments like the “Gabriela” final dance break were full of Latin-infused dancing and instrumentals that commanded every eye to the spotlight. Meanwhile, the chaotic “Gnarly” dance break had fans eyes and phones going side-to-side trying to catch every detail as the stage erupted with spontaneous, high-energy movement.
The energy on stage was bursting out loud, but the fans were just as loud. Nonstop screams that erupted every time the choreo calmed down were met with lightstick waves that pulsed perfectly in sync with the music. Some songs found fans singing along passionately, while other songs had people quiet and watching, too locked in to join in. The atmosphere between the crowd and the group created a shared space where the entire room felt alive.
Having come from a competition and difficult training, KATSEYE performed with the perfection and confidence of an extremely polished act. If this stop at MGM Music Hall proved anything, it’s that Beautiful Chaos is more than just a tour. It’s a statement that KATSEYE is proving their skill and showing how much further they’re ready to go.
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