If you can get past trying to pronounce their name correctly on the first try, you will quickly be propelled into the world of psychedelic funk. What is psychedelic funk? The answer:
Khruangbin
[ Kruang-bin ] Noun, Adjective, Verb
Meaning: Three musicians creating a kind of marijuana-like serenity in one’s mind that leads to the inability to function; giving zero shits about your problems; funky music.
Use it in a sentence: “Hey! Wanna go see Khruangbin with me?” “I feel like Khruangbin.” “This music is very Khruangbin.”
To save you a Google search: Khruangbin is a musical trio from Houston, Texas. Laura Lee Ochoa, Mark Speer, and DJ Johnson comprise the group. This is the definition of the band in its simplest form, however the meaning of Khruangbin can be whatever you want. The real definition of the word means “airplane” or “flying high” in Thai, which is a great adjective to use when describing a Khruangbin concert experience.
During their latest tour, A La Sala, the group landed in Philly at The Met for two nights. I dragged my friend Chris M., the host of Ctrl. Alt. Delete, with me for one of those nights. This was his introduction to Khruangbin, much like my own when I was first introduced to them. I had never heard of the group when I was first heard them in 2021 at the Firefly Music Festival in Dover.
Hearing a band for the first time ever during a live set has got to be one of the best ways to be introduced to their music and themselves. It is a formal introduction between the band and you that almost goes “hello, we are Khruangbin and we’re going to play you some of our music.” Now, this is very unlike our high-flying trio, as they take to the stage without a word. And proceed to blow your mind.
The Opener:John Carroll Kirby
Unbenounced to me at the time, John Carroll Kirby isn’t just a keyboardist that plays the music you’d likely find in the hot-boxed elevator of a multi-story dispensary – and I do mean live. This guy would be in the elevator with you playing the keyboard. In reality, he is an accomplished musician and producer that has appeared on tracks with artists from Nora Jones to Harry Styles, not to mention countless others in numerous genres.
Alongside Kirby and his keyboard were another keyboardist, a bassist, a drummer, and Newman from Seinfeld, who occasionally switched between a soprano saxophone and a flute. Okay, it wasn’t Newman from Seinfeld, but from where I was sitting he looked like he could pass as everyone’s favorite mailman who lives down the hall. His name is Logan Hone and he’s a very cool dude. Sorry for calling you Newman, Logan.
Trying to keep up with the pace at which my mind was attempting to make sense of their sound, I quickly jotted-down notes to try and capture what I was thinking. Here is what I wrote:
In the first-person of Kirby – “What if we, people who are exceedingly proficient in our respective instruments, smoked a fat-ass joint and played at the same time and tried to make it all work together?” And thus, the psychedelic woodsy jam-band was born, after a few puffs.
That’s not a fog machine on stage, no. That’s Pigpen who uses natural resources to get in touch with his creative side.
It’s all about the room. People want a good time and they’re giving it to them. Granted, everyone here is either nursing a heavy buzz or a decent high. I wish I were among these people. I’d be feeling my way through the M.C. Escher painting of audible-weirdness that is their sound.
Again, much like who they were opening for, it was one big jam session. And just like my introduction to Khruangbin, this live performance was my first time hearing the group. For Kirby’s band, it felt like walking into band practice for the group that plays the Mos Eisley Cantina on Tatooine, only they took a few too many rips off the bong carved from a bantha horn.
Hone (Center) seen here existing between his reality and ours.
The Main Act:Khruangbin
Given that this was the A La Sala Tour, our friends took us through the album and gave us a tour of their latest work. As always, they are the Gods of good vibes. For their new record the vibe appears to be laying on the floor in your favorite room, watching the light streaming through from an afternoon sun as it catches dust particles and casts shadows on the walls. But as the album progresses, it picks you up off the carpet and drops you on the beach with a drink in your hand and the sun slowly sinking below the ocean. There really is nothing quite like Khruangbin.
I wasn’t as familiar with their latest album, which made it all the more exciting to hear it live first, just to take me back to hearing them the first time. Reminiscence, thy name is Khruangbin. It’s just feel-good music. It’s music that gets you through the workday and music you can still enjoy after the day is done during happy hour. It really is perfect for any kind of environment. They are an accent piece, bespoke pinstriping on a hot rod, a tasteful tattoo. Their music doesn’t detract from the room, it ties it together. You don’t listen to their music, you breathe it in. Turn off their music and you’ll know something is missing, like someone has turned off the lights.
The Setlist
Once they had played-through all of A La Sala, they took a quick break and returned to the stage to play some fan favorites. They played “Cómo Me Quieres,” “Maria También,” “August 10,” and “Even Finds the Third Room” from Con Todo El Mundo, “Time (You and I),” “Father Bird, Mother Bird,” and “So We Won’t Forget” from Mordechai, and “People Everywhere (Still Alive)” from The Universe Smiles Upon You. They also played “The Number 4” from The Infamous Bill and “The Recital That Never Happened,” from A Calf Born in Winter. For their encore, they played “Zionsville,” also from The Universe Smiles Upon You and “Bin Bin,” which is featured on their Live at Stubb’s album from their concert last year in Austin, TX.
I will be honest, I am a sucker for the popular Khruangbin songs that put them on the map. I love “Time (You and I)” just as much as I love the lesser-known “White Gloves,” which they unfortunately did not play when I saw them. When Chris and I went to see what is now one of my favorite movies, The Holdovers, in the theater the night before Thanksgiving, I thought I heard Khruangbin playing in the scene where Angus and Mr. Hunham went rummaging through an outdoor book sale in Boston. Chris, who was poking fun at my love for Khruangbin, laughed when I blurted out “Is that Khruangbin?” We were the only ones in the theater, it was blissful. Once the credits rolled and proved me right, I was very happy to have another reason to make the movie my new favorite Christmas movie. “A Calf Born in Winter,” from their 2014 single of the same name, had a cameo in the film.
That’s also what makes them so much fun to listen to. Just like I described how they work at any point in the day for any activity, they are also versatile throughout the year for any event or holiday. Birthday party? Khruangbin. Christmas? Khruangbin. Apple picking? Khruangbin. It just works!
So many artists are perfectionists these days, always finding something they wanted to do better or poking fun at how simple their music is. That’s not found anywhere near Khruangbin. The Texas trio doesn’t play music. They are the music. Lots of bands are the catalysts for their sound, but few can personify the music without the use of lyrics. Khruangbin is one of these bands and there isn’t anyone else like them, nor will there ever be.
On June 22, 2024, 2000s piano rock giant Something Corporate (SoCo for short) rocked Philadelphia’s The Met, the third official stop on their Out of Office Tour!
Destined Premonitions: A Tour that Was Bound to Happen
If there is one thing I tend to live by, I always trust my gut because it’s usually right. Back at the end of 2023, my Instagram feed had become increasingly saturated with posts from Andrew McMahon, most likely because I had recently attended his New Friends Tour in November and consequently had jumped back into his discography. Anyway, long story short, I eventually caught wind that Something Corporate, one of McMahon’s earliest groups, was doing a handful of reunion shows at the When We Were Young Festival in Las Vegas and a couple of New Year’s shows in Anaheim. These events intrigued me for several reasons, the biggest one being the comments, some of which I admit were my own, that appeared underneath every post McMahon had made about a SoCo show. Most asked if they could do an official tour soon- each with hundreds of likes. This phenomenon inclined me to believe that they would soon be announcing a tour. Then in the early months of 2024, SoCo indeed announced their Out of Office Tour for 2024. I knew from the moment of the announcement that I would do everything in my power to try and review this tour on official PR… luckily, everything paid off.
Upon following the media release for this tour, I can report a couple of factors that make it so unique. First, this tour is the first official tour that they have announced in 10+ years! In addition, McMahon’s team made it crystal clear across all social media platforms their plan to crack down on ticket scalpers, which proved effective. From what I understand, they worked vigilantly on the back end to ensure that tickets were going to their fans for fair prices.
To Start: Days Away
The openers for the show were a progressive rock band Days Away. Before this concert, I had never heard of this band before, but I genuinely enjoyed their sound and have consequently added some of their songs to my playlist including “God and Mars,” “Ideas,” and “Mirrors.” A highlight of the openers would have to be when some of the band members brought their children to sing with them on stage. Another highlight of the openers was that there was indeed only one. Trust me, I know that sounds awful of me to say that, but as someone who has attended concerts in the past with two plus openers, it was a nice change of pace sitting through only one.
The Impact of SoCo
As it goes with being a part of the press, there are only certain songs, usually the first couple in the set, that we’re allowed to shoot from the pit. So naturally, after three or four songs, I was back in the lobby. Now normally, at this point, I would have just waited around until it was time to shoot SoCo from the pit, but I guess the spur of the moment got to me, and I felt that it would be so cool if I could manage to connect with some fans, and ask them what Something Corporate’s music means to them.
“They were the band that got me into pop-punk essentially… I remember hearing ‘Konstantine’ for the first time and playing it on repeat. From there, all I wanted to do was go to shows… this tour is basically a dream of mine.”
-Falyn Rasmussen (Former Blue Hen, Class of 2015)
“I think it’s just a lot of nostalgia probably. I first heard Something Corporate senior year in 2002, so a lot of the songs bring me back to that time, of course. Andrew McMahon has done a lot of other iterations of music, and now he’s bringing it back to when I first heard him, and it means a lot.”
-Joe Bridge (Long-time SoCo Fan)
SoCo is so Back!
Finally, the time had come for SoCo to take the stage, and take the stage they did! To start the show, they performed “Straw Dog,” “I Want to Save You,” and “She Paints Me Blue” against a cheering crowd. As most seasoned concertgoers will probably agree, there is always an extra special ambiance about the first couple of songs from the main act, as there is still much undissipated anticipation in the air. From the looks of the reunited bandmates, it was evident that they were relishing that unique energy.
“Fall,” “The Astronaut,” “Only Ashes,” and “Me and the Moon” were the next songs to reverberate through the crowd, which I found to be such a treat considering I had never heard the first three live before. Of course, I love catching some deep cuts live in concert, so “The Astronaut” and “Only Ashes” satisfied an itch I didn’t even know I had.
After this, SoCo rocked out with “Drunk Girl,” “Ruthless,” and “Babies of the 80s,” another three songs I was able to cross off my Andrew McMahon bingo card. While I had never really heard “Babies of the 80s,” which is apparently from an early album called Ready…Break, I was very familiar with the other two. Hands down, the highlight for me here was hearing “Ruthless,” as it is one of my all-time favorite tracks from North and somewhere in my top ten SoCo songs. Just screaming out the unforgiving hook “I could still be ruthless if you let me,” was enough to plaster the deepest smile on my face, let alone the entire song.
“Watch the Sky,” “Hurricane,” and “Death Grip” came next. Now, I have heard the first two songs before in concert, but that does not mean I was hysterically singing along to every syllable of these two weather-based angst-ridden tracks. “Death Grip,” SoCo’s newest dreamscape single was then introduced to the crowd, supplemented by a lyric video playing behind the band so that fans unfamiliar with the lyrics could sing along.
“21 and Invincible,” “As You Sleep,” and “Space,” three solid tracks from North followed up soon after. Once again, these were three songs that I had never heard live before, so I was very glad that I had the opportunity to witness them in person, especially “21 and Invincible,” as that song rarely gets skipped when it rolls up from shuffle in my car.
To end the main part of the show, SoCo performed “Cavanaugh Park,” “Punk Rock Princess,” and “I Woke Up in a Car.” Looking back, I would surmise that the performance of “Cavanaugh Park” was one of the most emotional parts of the show for me, as this was the first official SoCo song that I ever listened to (and bought off iTunes). This moment had me floored as I heard its ever-familiar soothing intro, in addition to finally being able to belt out some of the most relatable lyrics in existence “I’m running out of clock, and that ain’t a shock. Some things never do change. Never do change.” You can never go wrong with “Punk Rock Princess,” the pop-punk anthem made of black band Tees, dark side-swept hair, and sharpie-covered Converse. To complete this performance, McMahon brought out his punk-rock princess, his daughter Cecelia, to help him sing. Finally, to finish things right, McMahon rocked the crowd with the classic banger, “I Woke Up in a Car.”
An Encore Worth Waiting For
As the stage went dark to signify the end of the main set, the tension in the room had now become palpable, as most avid fans of McMahon knew what was coming in the next couple of minutes: the encore. Having peaked at the setlist before this concert, I was almost positive that the ever-elusive “Konstantine” would be played next. For those who are unaware of the lore, “Konstantine” is a nine-and-a-half-minute love song that has become a cult favorite among the SoCo fan base and has been somewhat of a cryptid over the years, as McMahon usually abstains from playing it due to it being so long. I have gone to multiple McMahon shows over the years in hopes of hearing this beautiful song but have come up short every time, so this moment felt like a true rite of passage for my diligence over the years.
With the cheers of the crowd egging him on, McMahon took a seat at his piano, and started playing some light interlude music before making the reassuring comment, “You know, I feel like there are a lot of people in this room who have waited a long time for this moment,” a statement that could not have been truer! This statement was so true that it transcended past the walls of the venue and across the country to California, where my sister Kellie (who is a big reason why I listen to McMahon in the first place) was listening on the other side of a Face Time call in hopes of hearing this song live. Personally, she tried to obtain tickets to the San Fransico show but had come up short. At the end of everything, her words were, “I’m glad I was able to see the unicorn even if it was on my phone, lol.”
Finally, to end the concert, McMahon finished with a proper bang- the post-high school graduate melody “If You C Jordan.” Honestly, this was an ideal song to end the night with. It’s the perfect conglomerate of hilarious, relatable, and absurd that leaves you feeling validated about any ‘Jordans’ that might be plaguing your life.
Overall Evaluation
If I’m being honest, this concert was nothing short of perfection. Usually, I have slight qualms with the setlist. However, this time around, that was not the case. To my surprise, SoCo hit the nail on the head and played every song I wanted to hear, setting up the night for a catharsis unlike any other!
Another facet of this concert that I found to be special was the different home-style videos that played in between every so couple of songs. Specifically, they appeared to be retelling the story of the early days/formation of Something Corporate, including a memorable image of McMahon sporting a very 2000s-coded haircut.
In my experience, there are very few things better than listening to a brand new album from top to bottom and realizing that you haven’t had to skip a single song. Magical, right? For me, it’s a rare phenomenon nowadays and I’ve grown used to passing off numbers of tracks as just “eh.” Now that I write that out, I sound like a real goody two shoes. I promise I’m just picky.
Found Heaven struck me as I listened through it for the first time whilst sprawled out on the Amy Green, making my way through pages of wildlife ecology notes on one of the first spring-like days of the season. I’m not an avid Conan Gray listener, mostly because I suffer from an aversion to trendy artists, but “Crush Culture” and of course “Maniac” were nevertheless part of the soundtrack to my high school years. In working to combat that somewhat judgy mindset, I cued up this album and let it play from top to bottom.
My favorite thing about Found Heaven and what keeps me coming back to it is the blanket of 80’s-style, almost psychedelic, pop-rock that this album is wrapped in. Each synth-ridden track is consistent in that heavy, techno feel that you don’t see in today’s music anymore because it’s so characteristically 80’s. Even the cover art takes you back to that era, as Gray models the restless, leather-clad, long-haired pop stars of our parents’ generation.
The title track feels like the prelude for the album, grounding you, inviting you to see what’s to come. It’s the perfect opener, which is why I encourage you to stay away from the shuffle button with this one. I may not be a creator myself, but I believe there’s an art to putting together a tracklist and each placement is made for a reason so just trust the process. If you’re like me, “Found Heaven” will leave you wondering if you’ve just been dropped into an episode of Stranger Things.
As a whole, I wouldn’t consider this album lyrically dense. It explores themes of lost love, found love, mourning, hurt, heartbreak…you get the idea. But it’s those little bits of songwriting genius sprinkled here and there that stop me in my tracks and make me go “Oh…I felt that.” Take “Alley Rose” and “Winner” for example. Both are set to simple, yet emotional tracks that pack the lyrics with an even heavier punch. I like to say that “Alley Rose” is a hybrid of poetry and narrative. Listening to it feels like reading a novel. It’s a beautiful tale of gut-wrenching passion, with imagery powerful enough to drop you right into our main character’s shoes. “Winner” is a little less poetic in comparison and I would place it in the category of “power ballad” (keeping with the 80’s theme here) but I’m sure we can all relate to the first chorus lines:
The only thing you’ve proven
Is that there’s no one
Who ever has done better
At makin’ me feel worse
Now you really are the winner
“Never Ending Song” is the driving-at-night-in-the-summer song that I have been waiting for. Its addictive drum beat and shimmering keyboard melody give it a feel that I can only describe as celestial and it begs to be enjoyed under a blanket of stars. I’m lucky to have had the chance to enjoy it as such. It took on extra meaning for me this past semester, at a time when I was forced to say farewell to friends who graduated, bringing me back to the unpleasant reality that somehow I’m expected to continue college without them. It really hits once I get to the bridge, and the lines,
Can you make us stay forever
Are we done?
Can you make it play
On and on and on
I will admit that these lines have made my eyes suddenly well up in the middle of vibing to this upbeat anthem. I have a feeling that “Lonely Dancers” is going to be another song for my summer playlist, with its techno beat and “Safety Dance”-esque feeling. It has the ability to make us feel seen with just a few lines:
We’re lonely dancers
Join me for the night
We’re lonely dancers, baby
Dance with me so we don’t cry
It’s the kind of song that you find yourself swaying to even when the world is burning around you, barely keeping it together and all the while choosing to forget about everything anyway. The world stops for two and a half minutes each time you put it on…go watch the music video and you’ll see what I mean. In my experience and opinion, it’s rare for a music video to truly embody how it feels to listen to a song. “Lonely Dancers” is spot on, to the point where I could predict what was going to happen in the video because it simply felt like it needed to be there.
It’s very difficult to have a favorite song from this album, but my consistent heavy-hitter has to be “Forever With Me.” The first time I heard it, I didn’t listen to the lyrics too closely but I found my eyes full of tears at the beauty in this modern day power ballad. Yes, it hits harder than “Alley Rose” and “Winner.” I don’t know whether to say “you’re welcome” or “I’m sorry.” Whatever sounds better, I suppose.
I admit it: I’m a big sap. From that first listen, I was starting to wonder if I should put this on my internal list of potential wedding songs. But then I paid a little more attention to what Gray is actually saying with these lyrics…and I cried all over again. “Forever With Me” is that beautiful wedding anthem…just turned on its head. What I first thought was a “you’re-my-soulmate-I’ll-love-you-forever” song actually turned out to be a “you’re-gone-and-I’m-never-getting-over-you” song. Every line is a contradiction, but nevertheless a contradiction that somehow makes sense. Lyrically, it’s pure genius. And the track has all the musical ingredients for a killer ballad: piano as the base, a wailing electric guitar, drums slowly getting more prominent as the song goes on, a splash of auxiliary percussion, and finally, a staggering key change. As someone who is a sucker for a good key change, I still wind up on the floor every so often when I hear this part.
In talking with friends about the album, I’ve found that “Bourgeoisieses” is an unexpected fan favorite. I think it’s the biggest outlier on the album, a funky little tune consisting mainly of kickdrums, synth, and a bit of bass guitar. While the other tracks tell painful stories of heartbreak and love, no one really seems to know what “Bourgeoisieses” is about. I wasn’t sure how I felt about it at first, but the more I listened to it, the more I realized that it breaks up the spell of sadness from the earlier tracks. Beautiful as they are, I found that it was a welcome pause in that theme. Maybe it’s the pure quirkiness the song exudes or the catchy beat underlying the lyrics that makes it such a beloved song among listeners. Whatever it is, I can proudly say that I love “Bourgeoisieses” just as much as the next person…and I still can’t spell it without some help from the internet.
To get back to the big picture, I believe there are a lot of simple elements of this album that have drawn me in. The lyrical themes and musical elements are satisfyingly synthetic. I’m usually a fan of complex lyrics but the funny thing with Found Heaven is that its themes are not at all outlandish. In fact, you could even consider them ordinary. But it’s the way that the album is put together and the creative elements are threaded through it that makes it truly remarkable and addictive. At a time when songs are getting longer and longer, each track is arguably short, averaging about two and a half minutes. In a way, I find this refreshing and I like that I can listen to a full album in just under 37 minutes.
And with that, I’d like to end this review in the simplest way I know how…
Why are you still here? Go listen.
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Because I couldn’t add them all…here’s my favorite bits of Conan Gray genius:
Found Heaven: “Don’t be scared, little child/ You’re no demon”
Never-Ending Song: “Can you make us stay forever/ Are we done?/ Can you make it play/ On and on and on”
Fainted Love: “I’m the worst if you want it”
Lonely Dancers: “Dance with me so we don’t cry”
Alley Rose: “And I thought if you’d ever leave me/ That I’d be the reason why”
The Final Fight: “And I came right back after growin’/ Yet you’re still the same”
Miss You: “I never meant to break your heart”
Bourgeoisieses: “Mom and dad got my back/ But I don’t need that, I need a Maserati”
Forever With Me: “And after all this time I wonder why you’re still with me/Well, at least in all my memories”
Eye Of The Night: “The memories that I cannot ignore/Fight for my life inside a silent war”
Boys & Girls: “You got a face that’s technologic/ Nobody cares that you’re psychotic”
Killing Me: “I wanna die but you keep me alive/ You’re killin’ me, you’re killin’ me”
Winner: “How do I somehow feel guilty/ When you’re the one who let it get this bad?”
Whether you call her Cry Baby, your nymph, or your muse, it doesn’t take a rocket scientist to look at Melanie Martinez’s discography to determine that she is nothing short of a lyrical and narrative genius!
Cry Baby’s Origins
Over the past ten years, Martinez has managed to solidify her presence in the music industry through her first three studio albums, weaving an intricate storyline of a character named Cry Baby, and the struggles she faces throughout the different stages of her life including body insecurity, exploitation, hyper-sexualization, bullying, depression, and anxiety. Her first two albums (Cry Baby and K-12) focus on Cry Baby’s life on Earth, highlighting family dynamics and home life in Cry Baby, and the oppressive environment of her boarding school in K-12. Melanie’s third album, Portals kills off this character, and reincarnates her to another dimension as a four-eyed fairy and touches on subjects such as overcoming depression, finding self-worth, cutting off toxic relationships, and growing from past mistakes.
Appreciation That Grew Like a Wonderful Weed
Personally, my familiarity with Martinez stems back to her humble beginnings on America’s The Voice. From the moment she stepped on stage during her blind audition, it was clear that she was born to be a star. Before she opened her mouth, her presence seemed to emanate a calming aura, a feeling that would only grow once she started to sing, as her voice carried a captivating and borderline haunting edge that no one else on the season possessed. While Melanie did not win her season, she still used the foothold the show gave her to sign with a record label and start making music independently.
Now to say that I was an immediate serious fan of Melanie’s would be a bit of an exaggeration. As the title of this section implies, Melanie had a way of growing on me over the years, garnering exponential respect from me with each album release. While I listened to select songs from her debut album, I did not begin appreciating Cry Baby’s character until Melanie’s sophomore album, K-12. I still have distinct memories of watching the full-length feature film she had released along with it that went under the same name in my college dorm room one day and loving the concept of the continuation of Cry Baby’s character. Not even to mention my affiliation with the songs on K-12 (and yes, After-School EP as well!), as I took an honest liking for the R&B and hip-hop undertones and raw lyricism that influenced their production.
Even though I enjoyed Martinez’s work, my appreciation was nowhere near what it would become upon the release of Portals. Some claim that music has a strange way of finding us in our darkest moments, and that’s precisely what happened to me with this album at the edge of last summer. In fact, I connected with it so deeply that I seriously considered attending the Portals tour. However, outrageous scalper prices and the need to work made it impossible. Defeated, I promised myself I would go next time. Little did I know that “next time” would come just a year later, in the form of her iconic Trilogy Tour. Not only did I attend, but I had the privilege of being there as press!
Pre-Concert Misadventures
The Trilogy Tour took place at the Wells Fargo Center, a massive arena with a capacity hovering just above 20,000, a number Melanie effortlessly sold out. Luckily, getting to the venue and figuring out parking was easy. There were minor hiccups when attempting to obtain my tickets at the box office and finding the media entrance, but everything eventually figured itself out. After all the final logistics were squared away, I truly started soaking in the magic of the Trilogy Tour. Now, this would not be a proper concert review if I did not take a second to rave about the fashion that graced this tour. I even heard a fellow photographer say this crowd was one of the best-dressed he had seen in a while- a statement I would say definitely holds up! Everywhere you turned, people were either decked in threads screaming pastel goth, dolled up in Lolita-style K-12 gowns and overalls, or dressed to the nines in fairy-core dresses.
The Warm-Up
I will admit, every time I entered the pit, there was an air of surrealness that hung just before me, making me feel a bit awkward, as I did not know what to do with myself at times. Fortunately, in the months leading up to the tour, I decided to make some friendship bracelets in hopes of trading some of them. So in blatant determination to sink into the awkwardness until it was no longer, I turned off my brain, approached people in the front row, and asked if they wanted any friendship bracelets, to which they enthusiastically complied- and yes, I did even end up getting some in return!
(photo credits: Shozzett Silva)
In terms of openers, this tour went above and beyond. The first opener was Sofia Isella, an alternative musician and classically trained violinist with enchanting lyricism that has a way folding onto itself like warm silver coils. The second opener, Beach Bunny, an alternative/indie rock band that rose to considerable fame with the aid of TikTok, then performed a beautiful and heartfelt performance that left the crowd pumped for Martinez.
Sofia Isella (left) and Beach Bunny (right) help hype up the crowd for Martinez!
The Trilogy-Baby, Girl, and Nymph
Eventually, it was time for the main woman of the night to shine, and shine she did! Over two glorious hours, Melanie showcased the full birth, life, death, and afterlife of her fully-fledged alter-ego: Crybaby.
To open up the show, Martinez formally introduced the audience to Crybaby’s overly sensitive nature, and disturbed family life with the tracks “Crybaby,” “Dollhouse,” and “Sippy Cup.” After that, Martinez moved into “Carousel,” “Alphabet Boy,” and “Soap,” three songs that address relationship struggles like toxic dynamics and the price of oversharing. Lastly, the Crybaby set ended with “Pity Party,” “Playdate,” and “Mad Hatter,” which dive into themes of loneliness, being taken for granted and accepting every side of yourself- even the ones that are insane. It was during this set that I was escorted to the pit to capture some beautiful moments.
The main highlights of the Crybaby set included the opening song “Crybaby,” where Martinez sang on a platform with a rocking crib visual on the screen behind her, along with backup dancers dressed as either rabbit doctors or in baby-core, a vintage carousel set-up complete with undulating seats that eventually caught into flames for “Carousel,” giant inflatable birthday candles that popped up all around the stage for “Pity Party,” and the picturesque dollhouse backdrop that accompanied “Dollhouse,” and “Sippy Cup.”
(photo credits: Shozzett Silva)
After the Crybaby set, the show transitioned into part two with the big screen displaying a giant ocean filled with Crybaby’s crib and toys, and eventually showing the iconic K-12 school bus. In an overt nod to the K-12 film, the bus floated out of the ocean and into the sky to land before the K-12 boarding school to which Crybaby was finally dropped off. As the chorus of “Wheels on the Bus” sweetly echoed throughout the stadium, the scene transitioned into the first half of “Class Fight,” followed by a powerful video interlude featuring a slowed-down snippet of “The Principal.”
“Show and Tell,” “Nurses Office,” and “Strawberry Shortcake,” were next on the setlist, and touched on topics like exploitation, bullying, and hyper-sexualization of women. By far the most memorable part of this section was the set-up for “Show and Tell,” as Crybaby was depicted as a tortured puppet on strings controlled by a hand on the screen behind her.
Finally, “Lunchbox Friends,” “Teacher’s Pet,” and “Highschool Sweethearts,” rang throughout the stadium to end the K-12 era. Since “Teacher’s Pet,” is considerably a fan favorite, it stole the show, especially when Martinez took to the floor to sing the iconic lyrics “And a lighter when you wanna get high/And mess around ’til you get numb.” Of course, the finale of “Highschool Sweethearts,” was also nothing to sleep on. At the end of the song, cupid flew onto the big screen, and pierced an arrow through Crybaby’s chest, which made a perfect segway into the Portals segment of the tour.
The Portals section began with a 10-minute prelude complete with a cosmic light and smoke show, elegant ballet dancers, and ethereal loaded music before finally opening up to “the creature,” in a graveyard full of mushrooms singing “Death.” Right after this, Martinez brought some much-needed energy to the crowd with “Void,” “Tunnel Vision,” and the glittering “Faerie Soirée,” only to finally slow it down with “Light Shower,” a soothing ballad that tells the charms of true love.
“Spider Web,” “Battle of the Larynx,” and “The Contortionist,” were next, all of which had some outstanding visuals to accompany their performance, including a fly serving sassy choreography after “Spider Web,” the creature slaying a pink dragon during the duration of “Battle of the Larynx,” and some eerie dancing overlining ‘The Contortionist.”
Finally, “Nymphology,” “Evil,” and “Womb,” wrapped up the tour with an unforgettable bang. Looking back, this was probably considerably my favorite part of the show, because there was something so cathartic about singing the feminine-rage anthems “Nymphology,” and “Evil,” in a full stadium- not to mention witnessing the live transition between the two songs which was virtually seamless, just as it is in the album.
The creature sets the stage ablaze to match the feminine rage!(Photo by Shozzett Silva)
Overall Evaluation
All in all, the Trilogy Tour ended up exceeding my initial expectations. From the expressive choreography to the intricate costumes on and off the stage, to the transitions between albums, and the stunning set pieces, this concert was nothing short of a full-blown musical production. In fact, I would say it is one of the most theatrical concerts I have been to thus far, and will probably remain as such for a while! In short, Melanie puts on an excellent show!
Of course, like any other concert, this performance isn’t without its flaws, some of which are subjective. For instance, I could have gone without the long interludes between albums, even though I realize this was most likely due to costume changes. In addition, I was a little bummed to see my favorite K-12 song “The Principal” reduced to a mere interlude, as well as the exclusion of songs like “Training Wheels,” and “Cake” from Cry Baby. Finally, I would have ascended out of my body if “Powder” from Portals (Deluxe) and “Glued” from After School EP were also performed, but at this point, I’m just catering the setlist to my personal preferences.
It may be slightly controversial, but I genuinely believe that Andrew McMahon is the unofficial-official ‘piano man’ of the millennial generation. For the uninitiated, Andrew McMahon is a man of many talents: impassioned vocalist, a masterful storyteller, a devoted parent, and perhaps most conspicuously, the spitting definition of a piano man. As of today, McMahon’s career has spanned over two decades across multiple bands and projects including Something Corporate, Jack’s Mannequin, and Andrew McMahon in the Wilderness, and thus has acquired a considerable fanbase- of which I proudly count myself among.
From the first moment I experienced what I call ‘soul ascension’ while listening to Jack’s Mannequin’s ‘Dark Blue’ on a car ride home from school with my sister during grade school, to the angst-ridden days of middle school where Something Corporate’s ‘Cavanaugh Park’ served as my quasi-therapy, to my first concert at Jack’s Mannequin’s 10 Years in Transit Tour in 2015 as a high school freshman, McMahon’s music has intricately woven itself into the fabric of my adolescence. With time, my love for McMahon’s music only grew, and in my later teen years, it served as a common point of connection for me to relate to my older siblings- a remarkable feat considering they averaged about 9 years older than me.
Although McMahon was a prominent figure in my family, he did not quite garner the same popularity among my peers in school. That is not to imply he was entirely underground, especially considering how his career-defining hit “Cecilia and the Satellite,” slipped ‘into the airwaves’ all across the nation. Nevertheless, I seemed to be the only one guilty of exhausting his entire discography ten times over.
Pre-Concert
Flash forward to 2022, my first year back to college after a much-needed two-year break. That year, I joined WVUD, where I met a group of friends who were also hyper-fixated with their favorite music genres and artists as I was including my now-good friend Gretchen, who also happened to be an avid McMahon fan. I still remember the day she mentioned his name. She said he was hosting a concert in Philly the following November, but expressed hesitation on going due to the ticket prices. It was at this point that the floodgates opened for me. I gushed to her that I had seen him in concert before, and how he puts on a good show every time without fail. In other words, he’s worth the money if you’re into his music. However, I don’t think I swayed her opinion by saying this, which was honestly understandable.
Another time jump to October of 2023. During the summer, I had foregone many concerts that I wanted to attend in the name of saving money for school and rent the following year. While doing this was necessary, I still found myself bummed that I had missed out on potentially unforgettable life experiences. Thus, I decided to throw caution to the wind and purchase a ticket to McMahon’s show in November. My original plan was to purchase a ticket for myself, and later see if I could convince Gretchen to get one, and if all else failed, I would go by myself. Nothing could have been better than the outcome that had happened though. Upon purchasing my ticket for the concert, I spied a little drop-down below the checkout button. Lo and behold, there was a promotion for LiveNation’s Summer of Friends event with the option to get 2-for-1 tickets. To say this was an easy decision would be an understatement- it was more of a no-brainer. At this moment, I felt like I was getting my go-ahead from the universe, and I giddily purchased two tickets to see The Mans in Philly. What made this stroke of luck even better was that Gretchen happened to be celebrating her 21st birthday just a couple of days after I bought these tickets. Now I had a legit present other than a bottle of wine to give her, at no additional cost to me. I guess you could say I was high on the deal, an economically stable ecstasy that lasted up until the night of the concert.
Concert
Before I knew it, Thanksgiving break had rolled around, and it was time for the concert. While getting through traffic was minimally painless, the parking situation was nerve-wracking. As I always like to say, it’s not a concert in Philadelphia without parking in a sketchy parking lot situated underneath a highway, and proceeding to walk around for 30 minutes looking for the parking monitor, because he operates out of his car. This is the official experience of parking at the Fillmore in Philadelphia.
Once we had parked the car, Gretchen and I headed for the line, hoping to score a good spot close to the front. To our delight, only about 8 or 9 people were before us. If there is ever a downside to concerts, it’s waiting in line. Luckily for us, someone was giving out friendship bracelets and another giving out plastic asterisks which I believe is a nod to the Dear Jack Fundraisers that McMahon holds from time to time, to raise money for children with cancer. These little mementos, while small in size, lessened the blow of having to wait to get into the venue.
Our friendship bracelets with songs MFEO (Jack’s Mannequin song) and Synesthesia (Andrew McMahon in the Wilderness song)
After a couple of hours of waiting in line, the doors finally opened and everyone started filing through security. I think it was at this moment that I gained genuine excitement coursing through my veins. It had been about five years since I had last seen McMahon and a reunion was overdue.
One thing that I feel obligated to touch on is the sheer beauty the Fillmore exudes. Sure, it may be a smaller venue, as it comfortably seats around 2,500, but that certainly doesn’t mean that it’s lacking in quality. Just looking at the way mood lighting sparkles through the chandeliers on the ceiling is enough to take your breath away. Seriously, every time I go to the Fillmore, I am instantly reminded as to why so many locals speak very highly of it. It truly is a beautiful place. Since we were so early in line, Gretchen and I were able to snag the very front row, which proved to be very useful throughout the night, as we were able to rest our coats on the railing and have something to lean on as well.
Of course, like any other concert, there were a couple of openers before the main act. Being somewhat of a seasoned concertgoer, I can safely say that not all openers are created equally. Fortunately for us, both of the openers were what I can only call pleasant surprises. The first opener was a band called Wildermiss, a synth-kissed indie pop band with something of a dream haze flare, and the second opener was Michigander, a rock-based soloist project whose raw vocals make you feel like taking a spontaneous road trip across the country.
Wildermiss (left) and Michigander (right)
Eventually, the time had come for the main man to perform: Andrew McMahon that is. The concert started with a slower yet effective song: “Nobody Tells You When You’re Young.” Better yet, McMahon made this an intimate moment as he started in the crowd, eventually weaving his way through it, and making his way on stage. The next song that McMahon played was “I Woke Up in a Car” an upbeat piano-bopper that pumped more than enough musical dopamine for old and new fans alike. I mean seriously, it’s physically impossible not to groove to that song.
Of course, after the crowd was riled up and ready for some more action, the Mans chose to slow it down with “Stars” a glittering song with a backing track straight from the patterns of the aurora borealis, and then picked it right back up with the melodic earworm that is “Fire Escape,” only to continue the crowd to infinity (pun intended) with “Last Rites.” Up next were “Bruised,” and “Me and the Moon,” a couple more nostalgic throwbacks that I was elated to hear, especially the latter. As I’ve stated before, Andrew McMahon is an eloquent storyteller who has a way of hooking listeners with the first couple of lines, and “It’s a good year for a murder/ She’s praying to Jesus/ She’s pulling the trigger” is no exception to this claim.
After that were “Paper Rain” “The Resolution (Jack’s Mannequin Cover),” and “Smoke and Ribbons.” I have to say, I was smiling ear to ear when I heard the intro to “Paper Rain” because it is considerably one of my favorite songs within McMahon’s newer discography. Of course, my heart melted a little when McMahon sang “The Resolution” as that was one of my brother’s self-proclaimed personal favorites from Glass Passenger and one of mine as well. “Smoke and Ribbons” was also a neat experience because special guest Cecelia McMahon (McMahon’s daughter!) was brought on stage to help him sing, a touching moment sweet enough to make anyone tear up.
Next on the setlist were “Hurricane (Something Corporate Cover),” “High Dive,” and “Skywriting.” Now I think I can speak for everyone when I say that “Hurricane,” is a perfect whirlwind of swirling teenage angst, laid in a solid hypnotic rock beat that demands to be moved which the crowd undoubtedly did. In addition, “High Dive,” a preppy yet poignant song about the uncertainty of love, and “Skywriting,” a newer song off of Tilt at the Wind No More only added to the hype of the crowd as they blared through the speakers.
Up next, was a special segment of the show that I was personally excited for what I dubbed “Friendship Karaoke.” For those who are unaware, as the New Friends tour was taking place, McMahon held a little social media contest where fans could send in a video of themselves singing one of their favorite songs, and whoever got picked from each city would be able to go that night, and sing on stage alongside McMahon, which I thought was such a cool inclusion into the show. For the Philly show, the winner ended up being a lovely woman named Sabrina Beth, who sang “La La Lie (Jack’s Mannequin Cover),” a catchy harmonica-based melody about the power of friendship… or so I think. Sometimes, I feel as if this song has multiple interpretations.
To supplement the chaos, halfway through this piano-harmonica teetering tune, McMahon whipped out an inflatable unicorn and proceeded to crowd surf, as Sabrina’s voice graced the audience with the second verse. At this point, Gretchen and I were more or less losing our sanity, as the sight of McMahon on a giant unicorn was one of the most comical views of the night.
To finish the main setlist, McMahon closed out with “Rainy Girl,” “Watch the Sky (Something Corporate Cover),” “The Mixed Tape (Jack’s Mannequin Cover),” and “Cecelia and the Satellite.” In following the pattern akin to an emotional rollercoaster, it made sense that McMahon would subside to the slow and sweet ballad of “Rainy Girl” directly after the crowd surfing. I will say that I was surprised to hear “Watch the Sky,” but by no means disappointed, as I have no real complaints concerning it. I could have gone without “The Mixed Tape,” but I realize this is a pretty hot take, as it is one of Jack’s more well-known songs. Don’t get me wrong, I am not claiming it to be a bad song in any capacity because a.) there’s no such thing as a bad song on Everything in Transit and b.) it is a good song. I’m just saying it’s not my favorite. Nevertheless, I still sang my lungs out to it. Of course, to finish the main show, McMahon performed “Cecelia and the Satellite,” which has been his most successful release to date. He even brought out his daughter once again to help him sing, which would have done some real damage if it were possible to go into cardiac arrest from witnessing purely wholesome events… all of us would have been goners.
An excellent concert is not complete without a memorable encore, and needless to say, this was nothing short of that, as it began with “New Friends,” a fun little number about starting fresh within a relationship hot from Tilt at the Wind No More started to pump through the crowd. As sort of a grand finale to the spirit of the New Friends tour, McMahon brought out his daughter and all of the opening acts with him on stage to accompany him.
Finally, to end off the night, McMahon had inevitably saved an all-time fan favorite for last: “Dark Blue (Jack’s Mannequin Cover).” This ended the show on a high note, as it is considerably Jack’s most popular song, and for good reason. With its powerful imagery of the way love can overtake you like a tidal wave, and its catchy beat, its inclusion is merely a must at this point for a McMahon concert- many fans would leave disappointed if it was not to be performed.
Post-Concert
At the conclusion of the concert, Gretchen and I ended up staying well into clean up to try and obtain a little memento from the stage. I was not necessarily looking for anything in particular, but I know Gretchen was hoping for anything that she could get. Luckily, she snagged a guitar pick which we later got Bobby Anderson, McMahon’s guitarist and former Something Corporate band member, to sign. As for the merch, while I did buy a shirt, I was a little disappointed to see that there were no shirts with the tour dates available. Leading up to the concert, one fantasy that I had was that the merch table would have a lavender shirt with teal, yellow, and dark pink paint splatters and the words “New Friends Tour” or something to that effect on the front and tour dates on the back available, which I know was a little far-fetched, but I still think it would have been an awesome design.
All in all, I would say that the show ran well, and all performances looked and sounded amazing. I have said it many times before, and I will continue to say it: McMahon knows how to put on a live performance. If anything, I would have made changes to the setlist, exchanging “Skywriting” for “Submarine,” switching out “The Mixed Tape” for “I’m Ready,” and including Something Corporate’s “Konstantine” somewhere in the show. Am I aware that the last inclusion is completely ludicrous and would never happen? Yes, I am, but it does not matter. I will die on this hill. For those who do not know, “Konstantine” is a beautiful nine-and-a-half-minute love song that is essentially a cult classic within McMahon’s fanbase. From my understanding, “Konstantine” is never performed because it’s too lengthy. Also, at this point, if McMahon were to surprise an audience with it on a random night, he would never hear the end of it, and he would have to play it every night. From this standpoint, I understand his decision to abstain from the song, but still, in my perfect (and slightly selfish) world, “Konstantine” would have been on the setlist. Additionally, I know that Gretchen said she would have preferred “Lying on the Hood of Your Car” to be included in the setlist, as that is her favorite track off Tilt at the Wind No More.
When Tesla broke into the automotive industry with the Roadster, it got enthusiasts pondering what the next generation of sports cars would look and sound like. The company ushered in a new product and a new perspective, paving the way for modern electric vehicles by creating a car that looked like it was stolen from 10 years in the future. Turns out that’s the trick to car design. 2009 was a good year for automotive design, as the Model S prototype was in good company when it hit the scene. (For reference, see the Ferrari 458 Italia, Aston Martin One-77, and Alfa Romeo 8C Spider.)
The product battleplan from Tesla in the early days was actually a very calculated one, if you can believe that. It went like this: Shock the industry with a Lotus Elise-based electric sports car, move past a questionable incident with Top Gear, and announce plans to manufacture a sedan just a few years later. They delivered on their promise of the Model S in 2012 and with a base MSRP of $57,400, they had lobbed it right into the mid-size luxury market. No one had done that before.
Right around this time, Fisker had the Karma, and Nissan had the Leaf. The Karma wasn’t a true EV per say due to its gasoline range extender, and the Leaf was a compact hatchback with an EPA estimated 71 miles of range. These two cars bookended the EV market at that time with prices around $102,000 for the Karma and $35,200 for the Leaf. Tesla had brought the fight to where the money was, and it worked. Plans for an SUV were announced after the first Model S’s were being delivered, which kept the industry on its toes. This bombshell meant everyone else was going to be further behind than they thought.
I would be doing a disservice to my business professors if I didn’t break this down a little more so bear with me while I make an attempt. They started by making a low-volume sports car that gets the attention of enthusiasts by licensing the technology of an already fantastic car, the Lotus Elise, leaving 80-90% of the costs going towards developing the powertrain. Pricing the car at a premium means profitability is attainable at a lower point when there’s a lack of economies of scale. However, that’s where they were headed. They had made an exciting vehicle with a cult following and plans to enter a more lucrative market with a sedan. All they needed was the capital, and they got it.
After Elon Musk joined Tesla, and just before the Roadster went into production, he invested $70 million into the company. Then, in 2009, the U.S. Department of Energy gave the company a $465 million loan and in 2010, a year after the Model S prototype was revealed, Tesla launched their IPO which earned them $226 million. This went towards funding the Model S and eventually the Model X.
The only logical next move for Tesla was to make an SUV to gain even more traction in the industry. They did. They gave it gull-wing doors, too. The skateboard platform that most EVs have are adjustable to accommodate whatever body is placed on them, so all Tesla had to do was develop an SUV body to put on their current platform, leaving more room in the budget for some fun. Making a bigger vehicle also means getting to charge more money for it. The cash from both the S and the X would then go into the fund for the Model 3, their cheapest vehicle on sale to date.
The model Y entered the compact SUV swinging and became the best selling model the company has ever produced. Every move that Tesla has made to pin them as the best-selling manufacturer of EVs has been calculated and with purpose. They came out of the gates ready to dominate and pinched every penny to stay on top of new development.
But now they’re getting cocky. Well, more specifically, Elon is getting cocky.
Tesla has always had little gimmicks here and there that added to the charm of owning an electric vehicle. They counted on owners having FOMO when hearing a V-8 roar by on a backroad, because why else would they program a Trans-Siberian Orchestra Christmas light show into their car? Sure, an E63 Mercedes AMG could sing like an angel as it eats up miles on the German autobahn… but can it make fart noises? These little party tricks started out as something fun, but now things might be going over the edge.
The Cybertruck debut in late 2019 left Teslaphiles throwing their wallets at Elon, hoping to grab a slot for a preorder. Was this a publicity stunt? No. A pep rally for fanboys? Maybe. Personally, I think Elon got bored with Tesla. The next car in the works was the new Roadster, which Tesla says won’t be delivered until 2025. It was revealed to the public in 2017 at the Semi launch, with availability slated to start in 2020. The Cybertruck, on the other hand, the biggest joke in the industry, struck like lightning.
It touched down without any warning, and it’s already out to owners. The Cybertruck was announced after the reveal of the Roadster, and was delivered to owners before the Roadster. How volatile does executive boredom need to be in order for it to result in producing a street-legal lunar rover? Forget for a moment that Cybertruck buyers are realizing what a mistake it was to buy in the first place– the truck is a danger to pedestrians, vehicles around it, and to owners who worship Elon like he’s going to take them to his Martian promise land. What car company would do this sort of thing?
A car company… That doesn’t want to be a car company.
Apparently, we’ve been looking at Tesla wrong for the last several years. In January, Elon Musk made a post on X, formerly known as Twitter, calling Tesla an “AI/robotics company that appears to many to be a car company.” Confused yet? Tesla, which started out as “Tesla Motors, Incorporated,” was renamed in 2017 to just “Tesla, Incorporated,” to encompass the new business developments being pursued. Some of their efforts have expanded beyond the scope of car manufacturing… so they shaved 50% of their name off in order to keep from looking crazy for straying away from cars. Yeah, that’ll show’em, Elon.
Car companies that are not car companies do not exist. Well, there’s one company that comes to mind. Porsche. The official name of Porsche is “Dr. Ing. h. c. F. Porsche GmbH, Konstruktion und Beratung für Motoren- und Fahrzeugbau,” which essentially means they are an engineering and consulting company by name, that happens to build their own cars.
Tesla is currently in talks with another “major automotive company” that is looking to license its Autopilot and Full Self Driving (FSD) technology, so the Porsche comparison isn’t too far off. In a letter from 2014, Musk expressed Tesla’s concern for the climate crisis and the role the company needs to play in combating it. He mentions that Tesla “will not initiate patent lawsuits against anyone who, in good faith, wants to use [their] technology.” Not quite an engineering consulting company, however if you copy their homework they promise not to tattle. But what if they did follow the Porsche mentality? Today, the only piece of Tesla technology that most other manufacturers are starting to integrate into its cars is supercharging compatibility.
Why not go further? They should have worked with other companies to advance their electric vehicle initiatives that encompass more than just a communal charging network.
In that same letter, Elon stated that their competition wasn’t other electric cars, but gas-powered cars. If Tesla really sees gasoline cars as their biggest threat, then why not offer their help to Detroit? Think of a story similar to the Audi RS2 Avant and Mercedes 500E, a pair of revered performance cars from Germany. Porsche helped in the development and manufacturing of both of those cars, and wouldn’t exist without their help. What if Tesla had a story like this? They could offer powertrain designs to companies that looked to create enticing electric cars, and still hold true to all their beliefs about climate change and open source technology. Not a bad idea, right?
I think this could’ve worked sometime between 2014-2017, just after the popularity of the Model S, and right around the time the Model X was being delivered to customers. (This was also before Elon got especially nutty.) This was prior to other companies debuting comparable EVs, and building full force Tesla-beating war rooms, which may have triggered the end of the company’s automotive division. The only hint of Tesla doing something like this was when they sent a letter to major automotive manufacturers detailing how to implement a 48-volt system architecture in their cars.
All I’m suggesting is, if Tesla wanted to go down the Porsche route and help other manufacturers build viable, modern electric vehicles and build their own cars, they could have kicked-ass. They would be less of a joke like they are today, because the Cybertruck is a sad example of what happens when you know you’re about to get beat at the game you started. Who knows, maybe the next time Tesla changes their branding it will be to “what part of ‘not a car company’ didn’t you understand,” and we’ll be the ones who don’t get it.
