The Gaslight Anthem, Joyce Manor, and Pinkshift at MGM Music Hall at Fenway
For this electrifying night, the MGM Music Hall at Fenway was abuzz with an almost palpable feeling of excitement and nostalgia. There were three very distinct yet very connected acts. It was one of those nights where old-school punk rock merged seamlessly with the fresh energy of a new generation to let everybody know that the future of punk is vibrantly alive.
Pinkshift exploded onto the stage to open the night, immediately setting things off with a young exuberance. Their set was a whirlwind of high-octane tracks that burbled and churned between raucous, punk anthems and deeply emotional moments that peppered in a bit of Midwest emo. If you’ve ever felt the pulse of Drive-Thru Records-era bands like Finch and Thursday, Pinkshift channels that raw energy; still, they infuse it with a modern twist.
It’s aptly summed up by the statement of the band’s frontperson, Ashrita Kumar, “Music is everything,” and their performance proved they lived and breathed it. The crowd surged forward with the emotional rollercoaster that Pinkshift provided, evidence of the potent cocktail of familiar tropes and innovation.
Next up was Joyce Manor, a band oozing charisma and possessing an X-factor that makes them instantly likeable to audiences. Already on cue, lead singer Barry Johnson set the lighthearted tone with his quip, “It smells like cinnamon rolls up here,” before diving into their signature blisteringly fast punk rock. Indeed, the style of Joyce Manor—bouncy and hook-laden, with boundless energy—is to the likes of Simple Plan, MxPx, and Blink-182 in a quite distinct fashion.
Songs like “Don’t Try” and “Stairs” showed off the band’s uncanny ability to put fun next to angst, a feeling of joy and longing that palpably hurt. Their new collaboration with Weezer on their classic “Surf Wax America” has cemented their rising status, and their performance last night proved that Joyce Manor is ready to shed some sunshine into the punk-rock world.
Finally, it was the turn of The Gaslight Anthem. 18 years into the larger stakes that have been put into their music, this band has gained a large fan base and critical praise from peers, agreeing that this group’s flame remains strong in its post-hiatus return with their latest release, History Books. Brian Fallon was ably supported on vocals and guitar by Alex Rosamilla, Alex Levin on bass, and Benny Horowitz in the drum kit.
The setlist was a thoughtfully curated blend of beloved classics like “45” and “Great Expectations,” deeper cuts like “1930” and “Helter Skelton,” and newer cuts like “Michigan, 1979” and their surprising Billie Eilish’s “Ocean Eyes” cover. It was Fallon’s gruff vocals and that tight, incendiary sound of the band that stole the show, but their surprising cover of Nirvana’s “Smells Like Teen Spirit” really stole the night.
Adding Pinkshift to this last number provided a cross-generational twist unique even for them, as Kumar and Fallon traded verses in a celebration of how punk—no matter what form it takes—is forever.
The concert simply proved that punk rock was vibrant and entering a new chapter. The night moved so fluidly across generational divides, dipping into nostalgia and the future, a real discoverable, fun, emotionally potent evening, proving once again that punk rock is very much alive and kicking.
Photo’s (c) Phillip Johnson
