Greg Freeman and band stopped by Mahall’s on Friday night to give Clevelanders a solid dose of sweaty, heartfelt, impressive indie rock.
The set was heavy on tracks from All Set the Bone, released this month to critical acclaim, and was a great follow-up to his (also great) 2025 album, Burnover. Live, the cleverly worded songs seethe with energy and captivated the room. His US tour continues through November, culminating in a Burlington, VT, homecoming show on November 21 (he now lives in Chicago).
TORONTO, ON | Durham, North Carolina-based expansive duo Amelia Meath and Nick Sanborn, better known as Sylvan Esso, brought their stellar vibes to History Toronto on Monday night, leaving attendees thrilled they left their homes on arguably the least popular night of the week.
Nova Scotian indie rocker Rachel Bobbitt put on a beautiful opening set to kick off the evening, and then it was all Sylvan Esso. Typically that consists of Meath and Sanborn, who not only make music together, but also established their own music label, Psychic Hotline, and are fresh off curating their first music fest, Good Moon Festival.
But this tour, along with their excellent 2026 album, Ow ∞, features other musicians as well. The result is the curation of a new way to realize every note and nuance of Sylvan Esso’s highly intentional songs. Live, the band plays and Sanborn runs the sound through his gear, modifying it so that he feels like he’s “finger painting for the whole set,” as explained to The Washington Post earlier this month.
Meanwhile, Meath’s signature voice soars and her dancing accentuates and punctuates every moment. The combined efforts make for some truly kickass songs—like folk hymns hidden inside of dance anthems—and memorable concert moments—like the cover of Donna Lewis’ “I Love You Always Forever.” There’s a reason I’ve never skipped an album or missed a tour.
Wilco is nearing the conclusion of their extensive spring-into-summer tour and chose to grace lil’ ol’ Cleveland with their presence for the first time in a decade. “I love this place,” Jeff Tweedy said while surveying Evans Amphitheatre, an intimate venue nestled inside Cleveland Heights’ own beautiful Cain Park. “We played here on our first tour in 1935,” he joked. But then did “promise to come back here more often,” so Northeast Ohians are going to hold you to it, Wilco!
The evening consisted of two sets and an impressive 33 songs spanning three hours. Many of their current song arrangements feel softer and more stripped down, and part of the fun of seeing Wilco is seeing how their songs evolve live. We still got our fix of climactic moments—”Via Chicago” comes to mind, as does Nels Cline, who we can always count on to rip an epic solo during “Impossible Germany” among others.
This hard-working band seemingly never rests, between their extensive touring and side projects. The ever-prolific Tweedy hits the road almost immediately following the conclusion of this tour in support of his soon-to-be-released new album, Twilight Override.
The Autumn Defense, John Stirratt and Pat Sansone’s band, is also set to release a new album and will hit the road in October. Keyboardist Mikael Jorgensen sits in with so many other bands that I’ve lost count. Cline released a brilliant Jazz album, Consentrik Quartet, in March, and Wilco drummer Glenn Kotche creates a new beat per week, which is just insanely impressive.
Glass Beams kicked off their Lollapalooza ’25 stint with a sold-out after show (or should I say eve show) at the Bottom Lounge.
Local harpist, Yomi, opened the evening with an alluring solo performance. She pushes beyond the bounds of classical and brings a fresh approach to the electric harp. Her set felt intentional, tender, and spiritually charged—a perfect precursor to Melbourne’s Glass Beams.
The room’s atmosphere seemed to shift the moment the mysterious, golden jeweled mask-wearing trio took the stage. The brainchild of Indian-Australian musician Rajan Silva, Glass Beams fuse Eastern and Western sounds, creating funky, hypnotic grooves that send listeners into other stratospheres.
This string of shows, which concludes in early November, will be Glass Beams’ last for a bit, as they’re returning to the studio to work on a follow-up to 2024’s Mahal. Catch them while you can!
Thousands of northeast Ohio millennials took their annual pilgrimage to Blossom Music Center this past Friday to see Dave Matthews Band. “I like this building,” Matthews said about Blossom (the only venue in the country housed in a National Park). “It’s good to be back,” to which the crowd roared in agreement.
The near-constant rain couldn’t dampen fan enthusiasm as the band worked its way through highlights from its extensive catalogue. Most notably, DMB busted out “Dive In” for the first time since 2021, while also treating the crowd to a 15-minute-long “Crush,” an “All Along the Watchtower” cover with a “Stairway to Heaven” nod in the middle of it, and several additional fan favorites.
The tour continues into the fall, so there will be plenty of opportunities to catch Dave on the road in the next few months.
Toronto jazz standouts, Badbadnotgood, transformed Cleveland’s newest venue, Globe Iron (side note: it’s awesome), into a fully immersive, visual, and sonic Art with a capital “A” experience this past Wednesday night.
Their style is collaborative in spirit and practice, so it’s no surprise that they chose to share the bill with up-and-coming Fayetteville singer/songwriter, Baby Rose, who joined BBNG mid-set to perform songs off her 2024 EP, “Slow Burn,” among others. Additionally, they employed the services of artist Sylvain Chaussée, who uses custom 16mm film projectors to display video and images that synchronize to the music in real time. The result is, as mentioned, Art of the hypnotic sort.
Chester Hansen (bass), Alexander Sowinski (drums), and Leland Whitty (sax, flute, guitar) make up the core trio of Badbadnotgood, but in recent years they’ve been joined in the studio and on stage by Juan Carlos Medrano Magallanes (percussion), Felix Fox (keyboards), and Kae Murphy (trumpet). Between them all, talent is truly staggering. Their set leaned heavily on 2024’s Mid Spiral, but also gave love to earlier albums. One particular moment of “wow” was Whitty’s stunning 10-minute sax solo during “Unfolding (Momentum 73).”
Clevelanders got a treat from “down under” (Lloyd Christmas voice) recently as Melbourne’s Amyl and the Sniffers stopped by The Agora for a sweaty night of riotous fun.
The crowd was dressed to impress for the special occasion: Many Amyl-esque outfits were on display, plus lots of skin, lots of tats, some leather catsuits, ripped fishnets, and several shirts. The band itself, comprised of Amy Taylor, Bryce Wilson, Declan Mehrtens, and Gus Romer, rose to the occasion, serving fans with a healthy dose of personality and punk rock emancipation.
Taylor is a force live, even on the tail end of a sickness that forced them to cancel their Toronto stop a couple of nights previous. It doesn’t seem to affect her at all, though, as she spins, bangs, and screams her way across the stage. Every human in the house is immediately sucked into her powerful vortex. It’s a vortex that doesn’t give a fuck. Unless, of course, you’re a racist, misogynist, ageist, homophobe, classist, transphobic, and/or ableist. If that’s the case, then fuck you. And to that I say, “Fuck yeah.”
Speaking of strong frontwomen, Tina Halladay of opener Sheer Mag has some serious pipes! She not so much sings but growls, a perfect complement to the band’s sound, which is a little classic rock, a little punk rock, and a little hair rock. I can see why Third Man Records signed them a couple of years ago.
The prolific Bill Callahan brought his dry sense of humor and signature baritone voice to Cleveland’s Treelawn this past week. “I’m trying to say something profound here…without saying anything profound,” he joked in between strums. “That’s my whole M.O.”
And joke or not, he’s done it effectively for nearly four decades now. His songs are like meditations, and his performance of them solo is equally transfixing. I typically prefer live arrangements with a full band, but Callahan’s songs work either way. The Treelawn audience was so locked in, you could hear a pin drop.
The setlist pulled from just a few of his extensive list of (truly excellent) studio albums, YTILAER (2022), Gold Record (2020), Shepherd in a Sheepskin Vest (2019), Apocalypse (2011), and Sometimes I Wish We Were an Eagle (2009). Callahan concluded this night with some fan favorites from his earlier years, when he went by the moniker “Smog.”
I was particularly psyched to hear “Say Valley Maker,” “Let’s Move to the Country,” and his concluding epic Smog’s-Greatest-Hits mash up during “Let Me See the Colts.” (For fellow Bill Callahan nerds, we’re taking snippets of “Dress Sexy at My Funeral,” “Cold Blooded Old Times,” “Sycamore,” and “Teen Spaceship.”)
CHATAUQUA, NY | Wilco played their final show of the summer this past Friday at the historic Chautauqua Institution Amphitheater with opener Cut Worms. It was their Chautauqua debut and a special treat for the historic educational and recreational community celebrating its 150th anniversary this year.
Of all the venues I’ve seen Wilco perform at through the years, this one was the most uniquely personal, as I spent my childhood and adolescent summers on the idyllic grounds, never dreaming that one day I’d be given the opportunity to photograph a favorite band in my favorite place. A great American band in a great American place over the 4th of July weekend? It doesn’t get more red, white, and blue.
The band, who coincidentally just held this year’s rendition of their own Chautauqua-like creation, Solid Sound Festival, was in full shred fest mode from the moment they kicked off the night with “Misunderstood,” to their banger of a finale cover, The Grateful Dead’s “U.S. Blues.”
There was a little something for everyone, as thoughtfulness takes up a good portion of the band DNA. They’re generous—to their crew, to their fans, to their tourmates. And it doesn’t hurt that their musicianship is otherworldly. This time around, I was particularly enamored with the live version of their newer “Bird Without a Tail/Base of My Skull.”
Fresh off their brand new and critically acclaimed fourth album, I Got Heaven, Philly’s Mannequin Pussy brought the buzz to Cleveland’s beloved Grog Shop on Friday night.
The sold-out crowd danced hard and belted lyrics harder. Mannequin Pussy—Marisa “Missy” Dabice, Kaleen Reading, Colins “Bear” Regisford, Maxine Steen, Carolyn Haynes—appear to be at the height of their powers, captivating both as songwriters and performers.
Also worthy of that praise? Openers (also Philly’s) Soul Glo—Pierce Jordan, GG Guerra, TJ Stevenson, Winston Hightower—proved even more captivating than their recent NPR Tiny Desk appearance where the audience was moved to mosh. To see both bands in such an intimate space was a treat.
Despite the January temperatures in Cleveland, it was a steamy night at the Grog Shop, as a sold-out crowd sandwiched together to see alt-country noise band, Wednesday.
The Asheville, NC band—consisting of members Karly Hartzman, Jake Lenderman (a.k.a. MJ Lenderman), Xandy Chelmis, Ethan Baechtold, and Alan Miller—have gained a whole new audience following the release of their awesome, critically-acclaimed, 2023 album, Rat Saw God. They gave the crowd a heavy dose of it, along with an excellent, show-opening cover of Edie Brickell & New Bohemians cover, “Ghost of a Dog,” as well as some previews of tracks from their next album.
The visceral “Bull Believer,” my personal favorite from Rat Saw God, inspired some guttural screams and crowd surfing. They conclude their winter US tour with Brooklyn’s Hotline TNT (who I unfortunately missed) mid-month and immediately head to New Zealand, Australia & Japan through March. Catch them in a smaller venue while you can.
One of the best live bands in the world, My Morning Jacket finished off their fall tour with a three-night run at the historic Chicago Theatre.
Together now for 25 years, the band seems to be aging like fine wine. Collectively they are a mesmerizing force, riffing off each other so that each song becomes a joyful journey. One minute you’re headbanging, the next you’re tearing up—especially when Jim James hits those high notes.
To be in the moment with this band and this fanbase is something special.
There are several high production pop artists who know how to put on a jaw dropping show. Beyoncé, Taylor, Gaga, Adele, and Billie are just a few of the powerhouse performers touring on the regular. We are truly blessed.
But there’s only one pop star who can flip and twirl on a rope from the ceiling while singing; who performs acrobatics while bungee jumping from the rafters; who will quite literally fly above you while belting a power ballad. It’s P!nk.
P!nk brought her massive Trustfall Tour to Cleveland last Wednesday. An ecstatic crowd at Rocket Mortgage Fieldhouse watched in awe while P!nk and her entourage of incredible dancers and musicians dazzled. Aside from stunts, P!nk cracked jokes, expressed her gratitude to her fans, and enjoyed some Twizzlers, which she adamantly asserted are better than Red Vines to laughter and protests from Red Vine advocates.
The US tour continues through November before heading to Australia and New Zealand in February.
For the 27th and final time of their 50-year career, glam metal pioneers, KISS gave Cleveland a pyrotechnic, hard rock extravaganza like only they’re capable of doing.
The night was as one would expect from KISS—an over-the-top stroll down memory lane full of tongue wagging, hip shaking, and pelvic thrusting. The KISS Army was especially enthralled by the occasional stage stunts, including puffs of fire, rising stages, and a war with aliens won by Tommy Thayer’s dual-threat guitar, which served as both a shred machine and a firework-spraying gun.
The Starchild, The Demon, The Spaceman, and The Catman conclude their End of the Road World Tour in New York City at Madison Square Garden in early December. So if KISS is on your concert bucket list, you better get on it!
3:15PM: Pesky rain pushed the Riot Fest gates today. A bunch of the bands on the front end of the lineup lost their set times. A true bummer, but a festival reality.
4:08PM: Brit rock and shoegaze pioneers, Ride seem to have coaxed the sun out of hiding. Their songs are the perfect musical accompaniment to the much appreciated warm rays.
4:55PM: AFI’s Davey Havok pauses their high energy emo punk set to give some love to this evening’s headliners, The Cure. “Every band playing here…was influenced by The Cure.”
6:12PM: The Dresden Dolls are performers through and through. They look to be having the time of their lives up there—the fans sure are! The reunited duo also busted out some great covers, including Black Sabbath’s “War Pigs” and Beastie Boys’ “Fight for Your Right” with surprise guest, former Hole and Smashing Pumpkins bassist Melissa Auf der Maur.
6:59PM: It’s been a bit of an anticlimactic day because of the rain delay and photography restrictions for certain bands, such as The Mars Volta. I feel like the day has just begun but we’re winding down to a close. While I would’ve loved to photograph The Mars Volta, I’m grateful to have been witness to their commanding, hypnotic set.
8:31PM: There’s no shortage of tears during The Cure’s Riot Fest finale set. It’s an emotional and fitting ending to a weekend packed with memorable moments.
