

The chandelier-lit halls of the Royale are typically filled with late-night partiers ready for a night of electronic music and drinking. On Sunday, March 24, a rather different demographic of people streamed through the venue. In wine-red lipstick, flowy skirts, and black lace from head to toe, droves of young people gathered for one uniting reason–to see the British rock band, The Last Dinner Party, at their first-ever show in Boston.

Tangible anticipation filled the air as the crowd grew and grew. Even in the band's American debut, the show had been sold out for months, as The Last Dinner Party exploded into stardom after the release of their first album, “Prelude to Ecstasy”. With their striking aesthetics and profound lyricism, it's no wonder The Last Dinner Party has become an immediate staple in the indie rock scene, finding particular success with young women and non-binary individuals — who also made up the overwhelming majority of the crowd in Boston that night.

First to take the stage was electronic musician and vocalist Miss Grit, also known as Margaret Dewey Sohn. Hailing from Queens, the young artist was accompanied on stage by only her guitar, a projector, and Ableton Live running on her laptop. Despite the minimal production, Miss Grit quickly won the audience over, bringing ethereal sounds and captivating visuals to the stage. Using a looping pedal to overlay guitar parts and vocals, she owned the Royale stage, even while mostly hidden in darkness. Miss Grit was bid farewell with raucous applause, leaving the crowd hungry for the main course.

At last, the red velvet curtains were drawn, signaling the moment everyone had been waiting for. One by one, each of the five members of The Last Dinner Party, as well as their drummer, took the stage. Last to arrive was lead singer, Abigail Morris, who drew a near-feral reaction from the venue full of superfans. As the band played their album top to bottom, the crowd sang along for the whole set, eating up every second of interaction. No corner of the crowd was left unattended, as the five key members spread across the entire width of the stage, each performing with passion and drama while never outshining the others. Abigail made for a natural frontwoman, confidently parading around stage, but every member made their presence known. Emily Roberts offered impressive solos on both the guitar and flute, while Georgia Davies effortlessly held down the rhythm with a twirl of her ribbon-clad bass guitar. And of course, the band’s signature sound would not be the same without the melancholy harmonies that Lizzie Mayland and Aurora Nishevci provided with their voices and instruments.

Seamlessly delivering both touching ballads and bright, energetic numbers like “Sinner,” The Last Dinner Party took the audience through a journey of love, loss and every emotion in between. The band had sky-high expectations on their U.S. debut after their quick rise to fame, and they certainly delivered in Boston. Performing way beyond their years as a band, they had their audience wrapped around their fingers. Short and sweet, they played through their whole discography in less than an hour, leaving fans wanting even more. From the cohesion of music, outfits, and even the baroque details of Royale as a venue, arguably the biggest part of The Last Dinner Party’s success is in their distinct identity from their conception, leading to a fervently dedicated fanbase in a very specific niche. It will be exciting to see where time will take this band as they mature, but after their fiery show in Boston, it’s clear that they are here to stay.

In their first American tour, The Last Dinner Party shine at the Royale

Nothing says summer like dressing up in all black to sit in the late July sun all evening. But last Wednesday droves of punk rock fans gathered at Jiffy Lube Live to do just that. Concert-goers dress in fishnets, combat boots, and an over 20-year-old collection of past tour merch could be found throughout the outdoor amphitheater on the hot, summer night. Anticipation, too, was burning, as many millennial rock lovers returned to the pit for Fall Out Boy’s So Much for Stardust tour, promoting their 8th studio album of the same name. After 5 years, the veteran band reemerged with a show that proved to be a thrilling and nostalgic journey through their highly successful career.

Early evening sets by Jersey-born Carr and Royal and the Serpent kicked off the show with high energy, setting the tone for a thrilling night of music. Next up was Bring Me the Horizon, an iconic British metal band, who promised an hour-long set of explosive performance. Kicking off with one of their newest releases, AmEN!, BMTH displayed not only their technical ability but also their genre-bending capabilities with the single’s surprising feature, Lil Uzi Vert. Despite the band’s peak popularity in the early 2010s, their stage performance quality and audience reception appeared far from dated. Lead singer Oli Sykes stole the show with powerful, gritty, screams and the perfect, punk-rock mane of hair for head banging. Demonstrating his love for his fans, he stopped during lulls to connect with fans and even performed a full song while wandering throughout the entire venue. Rabid screams shook the amphitheater as he descended the stage into the pit, and cell phone lights lit the lawn as fans gathered like moths to a flame at the chance to get close to the singer. After his lap around the crowd, Sykes returned to the stage to close out BMTH’s set with their two most popular hits, Throne and Can You Feel My Heart, concluding their performance in a whirlwind of hair flips and guitar riffs.

As the night grew dark, anticipation for the headlining act only grew. The crowd burst into cheers as Fall Out Boy’s remake of the Billy Joel Classic, We Didn’t Start the Fire boomed from the loudspeakers. Fans of all ages sang and danced along, all the while clutching their phones to record the long-awaited moment when the band would take the stage. At last, the moment arrived with a bang, as shimmering fireworks lit up the stage, revealing the 4 iconic musicians who had been with the band since its inception in 2001. Launching into their set with explosive energy and flashy pyrotechnics, Fall Out Boy seemed ready to prove that they are still powerhouses in the industry over 20 years later. They began with newer hits off their latest albums, and while well-received, it was the classic tracks from their earlier projects that truly ignited the crowd.

Between face-melting levels of fire, an impressive production of lighting, and a changing set that looked like something between a fantasy video game and an acid trip, it was hard to look away for even a second of their nearly 2-hour long set. Every band member made it clear that Fall Out Boy are veterans of performance. Dressed in a plain t-shirt and a baseball cap, Frontman Patrick Stump may just be the most unassuming punk rock singer ever. However, his vocal prowess was on full display, with high notes and deep growls with equal force, demonstrating his recognition as one of the most versatile vocalists of the genre. As always, bassist Pete Wentz, kept audience engagement high, effortlessly connecting with the crowd in between songs. Guitarist Joe Trohman and drummer Andy Hurley held down the rhythms of Fall Out Boy’s signature sound while shining through with lightning-fast guitar riffs and drum fills.

Fall Out Boy’s setlist was a well-crafted journey through their entire discography, including a few surprise covers, that catered to both longtime supporters and newly convinced fans. Tracks like Sugar, We're Goin' Down, Dance Dance, and Thnks fr th Mmrs sent the crowd into a frenzy, transporting everyone back to a time when Fall Out Boy's music dominated the radio.

Despite the high-energy songs, fans seemed to be most touched by the more stripped-down, intimate moments of the night. An acoustic version of Fake Out was met with a sea of pink flashlights, an audience-organized tradition to show their collective commitment to the band. Stump made it clear how Fall Out Boy cared for their fans, taking time to share personal stories and express their gratitude for the support they've experienced over the years. Likewise, Pete Wentz provided some wisdom and insight into the band’s ethos. “Prioritize love, make art, and even recreate a Billy Joel song if you feel like it,” he said in reference to their newly released, modern version of We Didn’t Start the Fire.

In all, Fall Out Boy’s “So Much for Stardust” Tour brought an explosive and memorable night to Bristow, VA that showcased why the band remains a force to be reckoned with in the alternative music scene. From big, pyro-filled moments to intimate audience connection, the show was a perfect celebration of the band’s journey over the past 2 decades.

Fall Out Boy brings the heat to Bristow, VA

Washington DC is a city that is always busy with tourists. On June 2nd, however, the nation’s capital was bustling with unusual energy. Just beyond the quiet solace of National Art Galleries, punk pop fans from all over the East Coast had gathered for a special occasion: the return of the beloved band Paramore. Hot off of their 2023 release This Is Why, the trio had made prior stops at major cities in the South, as well as headlining notable festivals like Hang Out Fest in Alabama, Boston Calling, and Adjacent Festival in New Jersey. As their first run around the country since the After Laughter Tour of 2018, Paramore has drawn on a new generation of fans this year, adding to their fan base of almost 20 years.

Lines snaked around Capital One Arena and into the surrounding streets from the early evening, with the most dedicated fans claiming their spot on the barricade the night prior. A girl in the very front row explained that after 11 years, she was finally going to see her favorite band live, so she didn’t mind the 18-hour-long wait. It may seem crazy to make a sacrifice like that for live music, but as soon as the lights went down and the massive LED screen at the front of the stadium was lit, the screams from Paramore’s fans suggested that they were anything but preoccupied with the wait they suffered.

Anticipation swelled as the introduction visuals grew in intensity until the band finally took the stage, bringing the volume level in the arena to magnitudes legible on the Richter scale. It was clear from the second the trio took the stage that the band is dedicated to their craft, and were surrounded by an impressive array of musicians. Every detail seemed fine-tuned to the environment associated with their sound. The substantial production accented key moments of the show, using bursts of confetti, bright pyrotechnics, and a floating stage piece that changed position and color to match the feeling of the given song they performed.

An impressive production like this would have overshadowed a lesser band, but Paramore is not an average band. Every member on stage played with passion and exuberance, but no member shone quite like Hayley Williams. The lead vocalist, known for her on-stage dramatics and showy wardrobe, commanded the spotlight throughout the whole 2-hour set. Williams is a powerhouse of performance, a cannonball of energy, and a woman with eclectic taste in dance moves. Her coveted style, renowned vocals, and explosive stage presence have turned her into an icon of the band and of punk pop as a genre. Watching Willaims strut across the stage, whip her dyed mane of hair, and kick her black leather shoes could make even a wallflower dream of being a rockstar.

In a brief pause from the head banging and guitar shredding, Paramore greeted the crowd with a heartfelt message. Raising the house lights, Williams spoke with the audience about their journey as a band, appreciating their loyalty through the changes and even the mistakes the group has faced. She offered an earnest thank you for the support on their new album, promising that Paramore is not done yet, “not even close to done.” Her commitment was met with fervent applause, as fans wondered what might be coming from their beloved band.

After watching a Paramore show live, it’s no wonder how they have accrued almost two decades of fanatic supporters. Hayley Williams, Taylor York, and Zac Farro are a one-of-a-kind group that not only care about their performances, but also clearly care about their fans. If the group is not even close to done, there is no telling the success that is yet to come for Paramore.

Paramore is back... and they're not going anywhere

out with a press pass to see SZA perform at TD Garden, with Omar Apollo opening! Check out Faith’s thoughts, along with some beautiful photos below

Omar Apollo started off the night with a laid-back but captivating set. He performed with a simple production and interesting visuals on screen behind him, but he didn’t need flashy lights or choreography to capture the crowd’s attention. The minimal set up allowed his impressive vocals to shine, which echoed through the stadium of screaming fans. During his song “3 Boys,” the stadium lit up with waving flashlights as the fans and performers alike belted the emotional, R&B ballad. He left the crowd wanting more as he beamed, walking off stage.

Anticipation for SZA’s arrival began to swell after the opening set. In-between, a DJ played a high-energy set featuring songs by Nicki Minaj, Ice Spice, and all the other hottest names in hip-hop. The crowd cheered and danced excitedly, even forming something akin to a twerking competition between different groups on opposite sides of the stadium. At last, the screen was raised, revealing the star perched up high on a dock. Behind her was the never ending sea, perfectly recreating a live version of the cover of her latest album, 

 Then, the screen was dropped, seamlessly transitioning from the original stunning visual to an electric choreographed performance between SZA and her back-up dancers. 

Even in an oversized jersey and cargo pants, the energy SZA emitted was like that of a goddess. The simple smile she gave the audience in between songs was met with fanatic cheers, demonstrating just how beloved she is to her fans.

The visuals throughout the whole night were beautifully choreographed and told a cohesive story throughout the performance. All the imagery related to the 

 album theme, from lighthouses, to sunken ships, to life rafts. Despite all these amazing props and animations, SZA and her smooth vocals demanded everyone’s attention.

Photos: SZA at TD Garden

The only word that can truly encapsulate the music, vibe, and dance moves of Milky Chance, the German band that describes themselves as “two high school friends making music,” is groovy. The music they make is mellow yet electric and has a unique, almost cinematic character. Some even venture to categorize their songs as “stoner music,” remarks which appeared to ring true at Milky Chance’s show at Boston’s House of Blues on November 30.

The first thing one typically notices at a concert is the band’s merch selection. Milky Chance did not disappoint, offering brightly colored designs which read “High Like Colorado,” the tagline of their latest single. Also at the table were packages of branded rolling papers that were printed with the same design, which they were handing out for free. This was an uncommon feature at a concert, and it set the stage for more pleasant surprises throughout the night.

Those who know Milky Chance’s music know that they don’t make the type of songs that one typically jumps around and screams to. However, this did not stop the young girls in the front row, who yelled the lyrics to every song from the moment the performers stepped on stage. As they did this, Milky Chance’s set vibrantly illuminated the stage in a wall of colorful LEDs which flashed to the beat of the music, creating a dramatic, almost psychedelic set of visuals. The third song on the setlist was concluded with an equally dramatic instrumental breakdown, with lead singer Clemens Rehbein playing a synthy piano and guitarist Anthonio Greger joining Sebastian Schmidt on the drums. They performed a lively, bongo-filled interlude as the energy drew to a climax, then an abrupt stop, and wild cheers from the crowd.

In close alignment with the artistic vibe of the venue in which they played, the members of Milky Chance had a unique sense of fashion that was relaxed, indie, and atypical to a pop or rock group. Rehbein in particular was wearing an ‘80s style, button-down shirt with a pattern just as funky as the dance moves he pulled out in between singing for the crowd. He was also a very casual performer, talking with the crowd in transition, riffing on his guitar as he told stories of the band’s tour travels. He mentioned that Boston’s House of Blues was the venue they had played most at in the US, a remark that was met with thundering screams from a proud audience of Bostonians. To introduce their next song, he told a recurring story that inspired their aforementioned single, “Colorado,” explaining how one must make use of “certain substances” that cannot cross the Canadian Border in travel. The crowd seemed to find this story humorous, and this was again met with screams of relatability or perhaps respect.

However, the most remarkable thing about Milky Chance’s show was how appreciative and humble a world-touring band can be. Toward the end of the show, Rehbein took a long pause in between songs to sincerely thank the crowd for their support. He was especially warmed by the fact that the audience was singing the lyrics along with him to a song they had released just three weeks prior. Then, in yet another surprising moment, the band stop their performance to tell of their earlier visit to a food bank in Boston, which collected food waste from grocery stores and redistributed it to the needy. They promoted the organization and its cause of helping those in need, which was incredibly endearing and telling of the character of the men on stage.

Milky Chance plays to a sea of flashlights. Photo: Faith Nguyen (@faithwinphotos)

Overall, Milky Chance proved to be an even better band than previously imaginable, both on a performance and personal level. Their show was truly a high that no one would want to come down from.


Milky Chance provides a true “concert high” at House of Blues

Beach Bunny, a band that finds its sound somewhere in the intersection between pop, indie, and rock, spent the longest leg of their 

 tour in Boston, playing two shows in two days at Paradise Rock Club. Attending their second show at the same venue on November 9, I was expecting a lighter crowd and a more mellow atmosphere. Entering the venue before the opener, Miloe, had even gone on, I was immediately greeted with a packed, energetic crowd, and I knew my previous assumptions were wrong.

I set to work making my way to the front, both to stake out a photo spot and to get a feel for the crowd. This was a difficult task in a venue as packed as Paradise was, a testament to the huge, loyal fanbase that Beach Bunny has, particularly when considering that this was their second show in Boston. Nevertheless, I made my way to the front. Aside from one middle-aged man who was very angry about people bumping into him in the pit, the crowd, gathered in anticipation of Beach Bunny’s performance, was overwhelmingly young and overwhelmingly excited to be there. The demographics of this crowd were no surprise, considering the many Beach Bunny songs that have gone viral on TikTok and their relatable anthems of teen girlhood.

Lead singer Lili Trifilio concentrates onstage.
Photo: Faith Nguyen (@faithwinphotos)

In fact, relatability seemed to be an overarching theme of the show. After an electric set from Miloe to warm up the audience, Beach Bunny’s four members waltzed on stage towards a screaming crowd. They were just about to start their first song when lead singer Lili Trifilio stopped them short. She announced she was having issues with her in-ear monitor, a small, earbud-like device that allows performers to hear themselves playing. The crowd laughed with her as she joked about the mishap, which resonated with me as an incredibly human moment that you don’t often get to experience when seeing a famous musician. This moment transitioned perfectly into their opening song “Prom Queen”, which has almost 170 million streams on Spotify. An upbeat rock song about insecurity and beauty standards, “Prom Queen”’s lyrics resonated throughout the venue as fans sang along. “You should lower your expectations,” many yelled rather than sang, and it was clear how deeply Beach Bunny’s lyrics connect with their fans.

Beach Bunny plays to a packed crowd.
Photo: Faith Nguyen (@faithwinphotos)

Trifilio also stood out as an incredibly interactive performer. Towards the beginning of the set, she asked around to see if it was anyone’s birthday, then after finding someone on their lucky day, she began a rendition of “Happy Birthday” with the whole crowd. In between songs, she often would make everyday conversation with the audience as if she were just talking with one person, again, connecting with her fans on a more human level. She encouraged everyone to move, to sing along with her, and at one point she asked the whole audience to squat down, a near-impossible task in the large, packed crowd, but her fans obliged, jumping to their feet as the energy of their song peaked.

Unassuming in her loose jeans, cropped t-shirt, and minimal makeup, Beach Bunny’s Lili Trifilio does not look like your typical lead singer of a rock band. However, I’ve concluded that this is the reason for her die-hard fans, some of whom came to both Boston shows. Trifilio is the most relatable, most adorably human performer I have ever seen live, and her smile alone as she interacted with her fans was enough to make the dimly lit venue shine.


Lili Trifilio lights up the Paradise Rock Club.
Photo: Faith Nguyen (@faithwinphotos)