Concert Review

Circle Jerks Concert Review

The chance to see Circle Jerks in 2021 felt like a once-in-a-lifetime opportunity, let alone seeing them with Negative Approach and Municipal Waste at a venue like Cat’s Cradle. The sold-out show was easily one of the best of the year for me, and believe me, it had some tough competition.

Negative Approach

As soon as singer John Brannon took the stage, I knew what this set was going to be like; loud, aggressive, and everything you would expect from a legendary hardcore punk band such as Negative Approach. The nonstop set was accompanied by the start of a mosh pit, though it seemed the venue was not at capacity at this point, and the pit was nowhere near as large as it would grow to by the end of the night. Despite the seemingly smaller crowd, the band was on fire, with Brannon’s ferocious vocals on classics such as “Evacuate” and “Hypocrite” standing out.

Municipal Waste

Seeing Municipal Waste on this billing took me by surprise, but I am certainly not complaining as I’d been waiting for a chance to see the Richmond-based thrashers. They did not disappoint in the slightest, going straight into the rapid fire riffs and short songs the band is known for. A mosh pit opened like the parting of the red sea next to me and eventually led to a circle pit around a support beam in the middle of the room (a suggestion from singer Tony Foresta). The standout moment of the set was “Wave of Death ” in which Foresta commanded us in the crowd to crowd-surf a kid who couldn’t have been more than 12 years old for the entire song. Though material from their debut album has been absent from their recent sets, the band broke out “Substitute Creature” (with guitarist Ryan Waste sharing vocal duties) at the request of members of the crowd. The set finished off with a wholesome dedication to Foresta’s family, who apparently had been able to see the band perform only a handful of times over their 20-year span.

Circle Jerks

I want to preface this by saying that Circle Jerks started in 1979, and Keith Morris sounds the exact same as he did then. While the stage show may not have been as energetic as they were 40 years ago, I’m more than willing to let that slide given just how great they sounded after such a long time playing together. The Jerks started off with “Deny Everything” the opening track to their debut album Group Sex, and throughout the night performed the whole album with the exception of the title track. The pit for the Jerks was shockingly intense, and I quickly jumped in when my personal favorite song, “Stars and Stripes” was played 4 songs into the set. The 33 song long setlist was broken up by breaks where Morris talked to the crowd, making jokes and some comments about the Tar Heels, before usually being cut short by the rest of the band continuing with the show. The band finished out their set with an encore featuring classics “What’s Your Problem” and “Question Authority” to a cheering crowd.

I’m incredibly grateful that Cat’s Cradle was able to arrange having me as a press guest for this show, and I really cannot put into words how incredible the night was. Not only were the performances stellar, but I also got to meet some new friends in the punk community, which is personally one of the best things about shows finally being back after so long.

-Ezra Kinsch

Concert Review

My favorite Songs at Hopscotch

I am so grateful that I got to go to Hopscotch last month and see so many of my favorite artists perform live, most of whom I’ve never got to see before. Here are some of my favorite songs that I heard and saw being performed at Hopscotch. 

Caroline Polacheck

It’s hard to pick just a few songs from Caroline’s set to talk about because every song she played was my favorite. I was in awe of her performance the whole time. She has an amazing voice and range, and I couldn’t take my eyes off of her as she danced around the stage; throwing kicks in the air, spinning around, and mimicking her lyrics with specific moves. Of course “So Hot You’re Hurting my Feelings” is up there for my favorite performance, it was the first song I heard by her and it instantly became one of my favorite pop songs. The crowd was super into it and her energy during this song, and the whole set, was infectious. Another one of my favorites was “Caroline Shut Up” because she does an amazing vocal run during a breakdown before going into the last chorus and I was mesmerized, it’s hard to explain what she does without listening to the song, so I would suggest checking it out if you haven’t. She also played three unreleased songs that were all wonderful, and I can’t wait for them to be released so I can listen to them on repeat. 


Unfortunately I missed Wednesday’s set on Thursday at the Moore Square Stage, but I was able to see them at Ruby Deluxe the next day and it was amazing. I just recently got into them after they released Twin Plagues in August, and seeing them live made me an even bigger fan. I loved seeing “How Can You Live If You Can’t Love How Can You If You Do,” because it is one of my favorites off that album. It’s a slower song, different from most on the album that are layered with fuzzy guitars, loud thumping drums, and strong bass lines, but this one is stripped down and the lead singer, Karly Hartzman, is at the center of the song. The lyrics are beautifully written and vulnerable, which I admire about all of Hartzman’s writing, but this one sticks out the most to me. I also loved hearing “Cody’s Only,” “Handsome Man,” and “Fate Is…” which is from their second record I Was Trying to Describe You to Someone

Dr. Dog

My dad actually introduced me to Dr. Dog a while ago. I remember he would play them around the house and I always loved hearing “Shadow People,” “Jackie Wants a Black Eye,” and more from Shame, Shame, but my favorite song he would play was always “Broken Heart.” I haven’t gotten super into Dr. Dog and didn’t know many songs they played, but I was really excited when they played this one because it reminded me of my childhood. Of course I had to enjoy the song a bit for myself, but I was also focused on taking a video of it and sharing it with my dad so he could somewhat experience it with me. They played “Shadow People” before it too, so I was excited by that two song run. The band sounded great live and were really tight. 

Flying Lotus

I don’t know many names of Flying Lotus’s songs, I really like his 2010 album Cosmogramma, and he did play “ Do the Astral Plane,” but I haven’t listened to much of his other releases. That didn’t matter though, because one of the great things about his set was that you didn’t need to know his songs, you just had to let loose and jump around. He played some remixes, one which included a Kero Kero Bonito song that made me super excited, a song off of Drake’s new album, and “Wesley’s Theory” from To Pimp a Butterfly. The crowd was super energetic and it was fun to dance with friends and watch others enjoy themselves too. 

Parquet Courts

The Parquet Courts set was so great, they were energetic and had great stage banter that made the breaks in their set super entertaining. They performed some new songs off of their album Sympathy for Life, which were all good and made me excited for the release of the album. I was most excited when they played “Almost Had to Start a Fight/ In and Out of Patience,” because I’ve listened to that song so many times and it was enjoyable to watch them play it. I also loved when they played “Wide Awake” because they had another member join them to play all of the bells and whistles that are on the recorded version, which add so much to the atmosphere of the song. The bass line is so dancey, and I did not see one person not moving around during that song. 

Archers of Loaf

This was my second time seeing Archers live, unfortunately I had to leave halfway through their set to catch Animal Collective, but they played most of my favorite songs pretty early. Like most angsty teens, discovering Icky Mettle was a very important part of my high school experience. There’s nothing quite like shouting the lyrics in your room to “Wrong” or “Might”, and it’s even better to be able to do it live with the band. “Web in Front,” was one of my favorite songs to hear live. I love the dynamic between Eric Bachman and Matt Gentling as Gentling shouts “All I ever wanted was to be your spine,” and Bachman powerfully sings over him about a failed relationship. They are still able to put so much emotion behind songs that are over 20 years old and I found that to be really special knowing they put so much effort into their performances. 

Animal Collective

Animal Collective is one of those bands that I really love, but I never thought I would see them in my lifetime. I’m not sure why, it’s possibly because I am much more attached to their earlier releases than their new ones and that’s what I’d really want to hear live, but surprisingly they did throw in some old songs in their set. They played “In the Flowers,” the opening track to Merriweather Post Pavilion, and one of my favorites from that record. It sounded beautiful live. My favorite song they played was “The Purple Bottle” from their 2005 release Feels. The song is so energetic and Avey Tare does a lot of screaming in the song, and of course I had to yell along and jump around. I made it to the barrier for their set and I had a great time watching each member make their unique sounds come to life. 

Concert Review

Spookstina: Manifest Concert Reviews

So WKNC sent a group to Manifest this earlier this month, and it was a bit more Halloween-y than initially anticipated. While genre variety was plentiful, there was an overwhelming theme of SCARY. The Local 506 had a end to end metal setlist on Friday, there was hardcore punk, a little bit of goth dance music, but most tuned to my tastes was the Noise and Dark Ambient thrills of Raleigh’s own Spookstina performing at NightLight.

Spookstina is a witch, and I mean that metaphor in the most literal way possible. She has raven hair, a high, raspy, and vaguely ominous singing voice, and a musical style that reeks of death and depression. Her SoundCloud bio is just the single phrase “The topography of an unmade bed after a restless night,” and it is awesome. Her music floats in that vague noisey electronic haze that goes by a million labels. Dark Ambient, is my first instinct, Death Industrial is another contender, but the point is that she’s very spooky.

Her performance was a wash of contradictions laid out for our viewing pleasure. She was in an intentionally catatonic trance for the whole set, barely vocalizing above a whisper in the small venue of Nightlight. Yet her theatrics loomed large in my memory of the night. Behind her was the scenery of a small apartment complete with Gen Z approved multicolor lighting. In front of her: a sewer grate ladder…. she started to whip the sewer grate ladder with chains halfway through the performance.

Yes, despite her listless, almost Shoegazing persona, her set was one of destruction. The entire venue was filled with a low electronic gurgle for more than thirty minutes, complete with a bass sound that made my organs shrivel. She smashed, clattered, and abused various inanimate objects, including a guitar which was played more as percussion that instrument. And while I cannot confirm this firsthand, a few of our other content creators swear there was a fire on stage briefly after she smashed a Christmas light.

I’m not sure this article amounted to a recommendation per se, but those of you who are into that sort of thing have doubtlessly put a full Spookstina concert on your bucket list already. She’s local to Raleigh, so you ghouls should have no trouble finding her.

Concert Review Festival Coverage Local Music

Manifest Review: A Loud Festival That Shines in the Quiet Moments

I think it was partway through Sister Brother’s set, a ski mask-wearing punk duo with anti-capitalist vocal samples and attacking guitars when I realized just how good of a weekend this would be. For reference, Sister Brother was the third set I went to.

Manifest did not pull punches. This was an event that threw punk and metal bands at you and you had to hold on and enjoy the ride. I spent most of my time in the Local 506, the main venue of the three, and the intimate size combined with the sheer ferocity of the instrumentals meant I had to pull out earplugs at a concert for the first time ever. 

Bands blurred together, but saying that sounds bad, like things were getting stale. When I say blurred, I mean that one band perfectly picked up the energy level from the previous group while adding their own spin on the rebellious under (and over) tones. Of course there were individual highlights. BANGZZ lived up to its name by getting the whole crowd headbanging and kicking off the night with interludes talking about the importance of taking up space and respecting others. Pie Face Girls described themselves as a “comedy troupe first, band second”, and their stage banter was as hilarious as their songs were captivating, with groovy instrumentals and repeated vocals that wormed their way into the brain and didn’t leave in a hurry. And Sand Pact came from left field with an experimental electronic set paired with performative dance that brought a bit of the club with them.

Of all the pedal to the metal guitars and screaming vocals this weekend, the most memorable act I saw was Raleigh “conjurer of sound” Spookstina. Their set consisted of the artist crouching over their decks and playing a continuous wall of distorted sound for over half an hour, punctuated by a couple minutes of vocals and some plucking of guitar strings and, most notably, the rattling of chains. Some of the rattling was recorded, but a lot of it came from them picking up and dropping chains that were on the small triangular stage in the corner of the room. This crescendoed into one of the most surreal experiences of my life: Spookstina picked up what they later told us was a sewer ladder, walked into the audience, and started hitting it with a chain to a beat that apparently only they could hear. 

What really made that work was how close the audience was to the action, and that was a major part of the experience. Artists were just hanging out in the bar after the show and were happy to be interviewed by a college radio station. Indie folk band Honey Magpie didn’t have any merch at the merch table; my friend and I got t-shirts by talking to them after their set and paying the lead singer on Venmo. It was adaptable too. There were plans for an outdoor day party with an art market on nearby Graham Street, but when rain started coming down, they just moved everything inside the Local 506 and kept the fun going. There weren’t many people there during the day, but those who showed up between 1 and 7 p.m. got to experience some great sets. I didn’t expect to hear much country music at Manifest, but Charly out of Lumberton NC surprised me with an emotionally resonant and personal hour of music.

But Manifest, in structure at least, was still a music festival like any other, and this means that its greatest strength is in allowing for the creation of certain moments, pockets of infinite joy, where you stop and realize just how much fun you’re having. The alley in front of The Nightlight, maybe the most underrated venue of the weekend, is perfect for squealing with your friends about how insane a set was, and the distance between venues allowed festival goers to slow down and really sit with the experience they just had. History dictates that, barring another global pandemic, Manifest will return to Chapel Hill next fall, and I’m already counting the days.

Concert Review

Jooselord Live Album Recording Video Recap

On Oct. 8, 2021, Jooselord recorded a live album at The Pour House with members of his collective Krawz Bonez.

WARNING: Explicit Content, shot by Brandon Whippo

The show featured local rappers Buddahbby, Godrick, Austin Royale, Nunafterhours, 3AMSOUND and Jovi Mosconi, with Jooselord headlining the event. Our very own WKNC alumnus, the legendary Iron Mic, was the DJ for the show and kept things running very smoothly on the turntables throughout the night.

It was truly a unique experience with the addition of a live band to the latter half of the show. Not only that, but Joose had The Pour House record his performance and press it to a vinyl that will be available for purchase in the near future. This was another great collaboration of local artists showcasing the talent that the Triangle has to offer.

Concert Review Festival Coverage

Flying Lotus: Concert Review

Flying Lotus is an artist I first came across while working as the Underground Music Director for WKNC this Summer. I ended up loving his latest album “Yasuke” and added a bunch of his songs to the rotation, so when I found out he was performing at Hopscotch I couldn’t wait.

The Music

Throughout his set, Flying Lotus played an assortment of his more recent and his older projects. As a relatively new listener, I only recognized the tracks “Black Gold” and “Crust” which are from his latest album. Overall, his set was much more electronic than I had initially expected which was pleasant surprise. The bass was heavy, the music was loud, and the people were moshing.

The Performance

Unlike Caroline Polachek, the opener on Thursday night, Flying Lotus relied more on tech than choreography for his visuals. He stood alone behind a large DJ booth which had a transparent white tinted screen separating him and the audience. On this screen there flashed a crazy assortment of images and short videos that correlated to each song in his set. The visuals along with the heavy bass made for a pleasantly disorienting experience.

Concert Review

Concert Review: White Reaper (9/25/2021)

White Reaper onstage at Cat's Cradle
White Reaper at Cat’s Cradle on 9/25/2021

Late into the show, lead singer Tony Esposito remarked that “it feels a lot like 2019 again”. This moment of introspection stood out because it was a rare break in almost continuous stream of wailing guitars. Often Esposito would step away from the mic for extended headbanging solos powered by the three guitars, and even during breaks between songs someone would always be hammering a note or keeping a drum rhythm going. There was very little that stood between the five members of White Reaper and delivering the experience the audience paid for, which was for them to play now and loud.

This concert was a long time in the making. White Reaper was originally coming to the Cradle in March of 2020, this was rescheduled for obvious reasons to April 28 of this year, when it was rescheduled once more to Sept. 25. The hype was palpable, and one person I talked to said they drove all the way from Richmond. 

One of White Reaper’s signature traits is Esposito’s howling, passionate vocals, and they certainly put on a show that night. The Cat’s Cradle acoustics meant it was definitely hard to make every word out but that added to the experience, songs became experiences, crashing walls of sound, and everyone knew the lyrics anyway.

Their stage presence was immaculate, often someone would stand on a platform to almost come at the audience from a new dimension and there was always purpose behind actions as simple as walking around during a song, often coming within a few inches of the front row when a song reached its crescendo. 

The setlist was a nice blend of old and new, with songs like “Sheila” and “Pills” off their debut alongside “Raw” and “Headwind” off their most recent album, 2019’s “You Deserve Love”. “The Stack” was a particular crowd favorite, virtually everyone was jumping and singing along to it. And they wisely kept “Judy French”, one of their biggest crowd-pleasers, until the encore, answering the audience’s cries to hear it played with the familiar opening notes that had everyone cheering.

White Reaper are from Louisville, but they injected some local flair by dedicating “Might be Right” to two of their North Carolinian friends who are engaged to be married and were also in the audience, and their cover of “Aneurysm” was an homage to Nirvana’s 1991 concert at the Cradle. They also asked if anyone in the crowd were students and said to “stay in school otherwise you’ll end up like us”, which was ironic in the face of the absolute blast they seemed to be having onstage.

Opening act Glove set the tone for things to come and while I hadn’t heard its music beforehand I had a great time with its set. It’s a synth heavy band with a strong 80s influence and a lot of fun grooves and piano riffs. Its versatility of lineup was interesting to watch; the drummer switched from a larger drum set to synths to a smaller drum set to being the lead singer and about halfway through they keyboard player started playing sitting down, at eye level with the front row. White Reaper was the star of the show but Glove definitely earned its applause.

And Esposito was right: it really felt like 2019 again. While I along with a few others stayed in the back to keep distance between each other, the mosh pit was alive and well and pretty much the whole front half of the crowd was involved. While this concert had been rescheduled multiple times, everything about the actual event felt like a return to some version of normal, and even from the back, it was a pretty great version.


Blog Concert Review Festival Coverage

Hopscotch Music Festival 2021 Series: My Experience

Now that I’ve had some time to reflect, I’m finally ready to share my 2021 Hopscotch experience. While I didn’t see all of the performances, I did get to see most of the major acts: Helado Negro, Animal Collective, Flying Lotus, Hippo Campus, and Caroline Polachek.

I was somewhat surprised by how much I enjoyed Helado Negro; I’d never heard his music before, but his performance was lively, kind, and felt like home. I cannot say the same about Animal Collective. They played almost exclusively new music and the crowd was clearly disappointed. That being said, the unique vocals and skilled instrumentals were undeniable. Flying Lotus, while a whole lot of fun, was nearly too loud to enjoy. With my Photo Pass, I was able to shoot most of the performances from in front of the barrier, but I wasn’t able to shoot Flying Lotus because of the volume of his music. From the barely audible crowd mumblings, I could sense that I wasn’t the only one struggling with the volume. Hippo Campus was easy and enjoyable, and for the big fans, I’m sure it was the best. They even took to the floor after their set to meet people and explore the festival which I appreciated. Finally, Caroline Polachek. I am certainly in the minority with this opinion, but I just do not like her music. The performance was contrived (though I did like her outfit) and most of the songs had no appeal for me. 

Aside from the music, I was surprised by the lack of food and drink vendors. There were certainly some present, but a small amount compared to what I expected. That being said, it was the first Hopscotch of the COVID era so some things were just smaller. 

I appreciated the opportunity to attend Hopscotch and I’m looking forward to seeing Hopscotch return even bigger and better next year.

Here’s to the loose pug that ran around outside the Moore Square venue,

Silya Bennai

Concert Review

Memories of Merlefest 2021

Merlefest 2021 took place September 16-19 and WKNC, at long last, had representatives taking part in the festival.

The headliners were amazing, but some of the most magical moments of Merlefest were in between the big events – meeting the people who have been attending this festival for over 30 years, seeing people who have never met play together like they learned to play music together, and seeing the community of people who all have one thing in common: they love music

John, featured in the middle of the top row of photos, attached a picture of Tony Rice onto his umbrella to keep his spirit alive. Tony was godfather to John’s daughter, Jessica, who was said to also be carrying Tony around the festival. John said that in Tony’s last years, he chauffeured him.

Old Time Pickers Tent

The Old Time Pickers Tent, featuring young and old pickers, played all day and into the night through the hot weather. The cast rotated, but the spirit of old time stayed in the tent all day. The origins of old time are explored in our interview with Rich Shulman, which you can watch here. John Turner, accompanied by his daughter and granddaughter, shared his flatfooting skills – that is NOT tapdancing you are seeing. Flatfoot dancing is a type of Appalachian clogging – you can watch John and his family demonstrate here. The Old Time Pickers, including Rich Shulman, Marcus Campbell, Gary Hermann, Linda Cabe, and Robbie Herman (pictured above) keep the spirit of old time alive through their picking.

That’s what this festival is about. It’s putting people together because of the music that would never cross paths, that would never meet, and the one thing in common is the music.

Rich Shulman, Old Time Picker
Watch the interview here

Sarah Shook and the Disarmers crossed Merlefest off of their musical bucketlist, and Merlefest loved them. A perfect set during the sunset session after the rain of Saturday had lifted, featuring a few songs off of their upcoming album, Nightroamer. You can hear more about that in our pre-festival interview!

The Dance Tent

The dance tent, although home to smaller acts, always managed to revive an exhausted Merlefest attendee. Acts such as Cordovas and Ganstagrass (pictured above) reinforced the idea that the festival is not strictly about traditional picking – it is about the love of music, and rock and hip hop are a part of that. Ganstagrass, a five piece group that infused hip hop and bluegrass, floored us with their talent and a blending of two genres so seamless that afterwards, we wondered how they had ever seemed so separate before. Stay tuned for the interview on our Youtube page!

Mavis Staples

And Mavis. Mavis Mavis Mavis. We spent our Sunday afternoon with Mavis Staples. Mavis brought maybe the most energy to the Watson Stage (the big one) out of the whole festival – when the crowd wasn’t giving back what she so willingly gave, she told us to loosen up “like a bowl of Jello” – so we did. Her amazing vocal performance, anticipated but still shocking – she’s 82 years old! – awed the crowd. Singing classics like The Weight, For What It’s Worth, Slippery People, and Respect Yourself (joined by Melissa Etheridge), Mavis continued to renew the songs and impart a new meaning and sensation than any other time you’ve listened to them. Midway through her performance of I’ll Take You There, she stopped and let us know that she was aware of that – “My family, the Staples Singers, has been taking y’all there for 74 years and I ain’t tired yet.” Then she asked us to take her there – the crowd obliged by singing the chorus, but the feeling lingered that there was more to be done.

This is by no means the most thorough account of Merlefest – Amythyst Kiah, Leann Rimes, Jim Lauderdale, the Sam Bush Band and so many more acts made the festival what it is. DJ Lizzo and Big Hoss would like to emphasize their gratitude to the Merlefest community for their acceptance and sharing of their culture.

Concert Review

Concert Review: Phoebe Bridgers – Raleigh, NC (09/21/21)

On Tuesday, September 21, I had the pleasure of attending the Raleigh show of Phoebe Bridgers’ Reunion Tour at Red Hat Amphitheater. I got my tickets back in July when it was going to be held at The Ritz, but because of the changes Bridgers made to make the tour more COVID-conscious with rising cases (which I covered in “Phoebe Bridgers’ ‘Reunion Tour’ Makes Some Changes”), it got moved to Red Hat. Due to this change, my two friends and I were in the pit. I’m not the biggest fan of pits, especially after avoiding crowds for so long, but with everyone masked and vaccinated, it made the experience a lot better.

Doors opened at 7:00pm, and MUNA came on a little before 8:00pm, and boy, were they great. The electro pop trio gelled together perfectly. Their chemistry, talent, and stage presence combined was truly something special. Not to mention, Katie Gavin, the lead singer, had a spectacular outfit. 

They performed several songs including “I Know A Place” and “Crying On The Bathroom Floor.” They also performed their brand new single “Silk Chiffon” that has a feature from Bridgers, who came on stage to perform it with them during their act.

MUNA was energetic, fun, and electric, and I was worried (albeit very momentarily) that Bridgers’ melancholic sound would not lend itself to the same energy.

That worry faded to dust once Bridgers and her band walked on-stage in a single file line to “I Gotta Feeling”  by The Black Eyed Peas. They then jumped into performing “Motion Sickness” and the screen behind them morphed into beautiful visuals. Don’t be fooled by her whispery-singing, Phoebe Bridgers is a solid vocalist, and she delivered during “Motion Sickness,” at one point holding a rather high note for what felt like ages (but was probably like thirty seconds, an impressive feat).

Her stage talk was frank and honest, and she made comments throughout the show about how humid it was, saying that the air in North Carolina was like clove-cigarette smoke (it rained on and off during her and MUNA’s sets, and torrentially downpoured after). Before performing “Kyoto,” a song about her rocky relationship with her father she remarked “This one’s for everyone who’s ever had to lie to CPS.” Similarly, before “Savior Complex,”’ she said, “This one’s about alcoholism.” 

Uniquely, Phoebe did something she said she had never done before; she let the crowd choose two songs for her. Firstly, she let us choose between “Scott Street” and “Georgia.” How did she determine it? How loud we cheered. The crowd was loud for “Georgia,” but everyone erupted for “Scott Street.” Toward the end of the show, she stated that she enjoyed letting us choose earlier and that we could choose again. This time, between “Georgia” and the boygenius song “Me & My Dog.” “Georgia” lost out again (I love the song, but I wanted to hear the other two just a tad more, so I was happy with both choices).

She closed out the night with a beautiful cover of  “That Funny Feeling” by Bo Burnham. Shortly after the release of “Inside,” Phoebe said on her Instagram stories “every bone in my body wants to plagiarize this.” Instead of doing that, she added it to her setlist, doing what she says in the first verse of “Chinese Satellite”: “I wish I wrote it, but I didn’t so I learn the words / Hum along ’til the feeling’s gone forever.” 

The visuals were stunning, her band was fantastic (especially the trumpeter, JJ Kirkpatrick), and overall, the night just felt safe. The show was very intimate and magical, and for me, an amazing return to seeing live music, after not seeing anyone live for over two years.

If you’re interested in the setlist of exactly what MUNA and Phoebe played whilst in Raleigh, Spotify user Noah East created a playlist that you can stream.

Be sure to also check out Lise Nox’s review of her experience at the Charlotte show.