The Last Dinner Party graced its Pittsburgh crowd with their ethereal and riveting performance at Stage AE on April 8th, 2026. Concert attendees went all out with their apparel for The Last Dinner Party’s From The Pyre Tour. The English band consists of lead singer Abigail Morris, bass guitarist Georgia Davies, lead guitarist Emily Roberts, guitarist Lizzie Mayland, and pianist Aurora Nischevci. Unfortunately Georgia was unable to perform at the Pittsburgh show due to an injury causing one of their band’s technicians, Max Lilley to fill in for Georgia.
The Last Dinner Party utilized an elaborate set along with mystical outfits to support their undeniable passion for their music and their indescribable musical talent. The band opened with their recent album’s lead-off track, “Agnus Dei”. From the first note, the audience was immediately drawn in by the band’s stage presence.
In between songs, Abigail conversed with the crowd about their stunning trip to Pittsburgh, Abigail’s particular excitement to visit Andy Warhol’s hometown, and what exactly a “Yinzer” is. When thinking about the unique nature of each show they perform at, the lead singer expressed how much of a gift it is to play on tour and meet new people at every show. “If just for tonight, we hope we can make you feel seen and safe and heard, because that is what The Last Dinner Party is all about.”
Throughout the show, various members from the band had the opportunity to take the spotlight, allowing for each musician to engage the audience with their own unique presence. Pianist Aurora Nischevci performed an the bands Albanian inspired song, “Gjuha”, from their first album, Prelude to Ecstasy. She expressed that the creation of this piece allowed her to be proud as an immigrant. She mentioned that when looking at the United States from the outside, it is the vast variety of cultures mingling together from immigrants that makes the United States so special.
The Last Dinner Party put on a heartfelt and pure performance that allowed for each member of the band to shine as their own creative. Their ability to immerse their fans in their performance with their angelic vocals and distinct musicality was unlike any other live performance I have seen.
Photos by: Abigail McNatt Review by: Chris “Oberrated” Ober
A “long” six months ago, Aly & AJ came through Pittsburgh on their Silver Deliverer tour. It was my first time seeing the duo in a long time after obsessively listening to them in my younger days. That show inspired me to dive deeper into their discography, and their newer music is nothing short of special. Now after that wonderful night of rekindled passion for their music, Aly & AJ returned to Pittsburgh after a brief time and brought their Places to Run Tour along with them.
Supporting Aly & AJ was the young country artist Hayden Blount. Hayden is an up-and-coming artist that’s only been running the music circuit since about 2023. To say that he is making waves would be an understatement. Pushing over a million monthly listeners on streaming platforms, things are looking pretty good for the hard-working southern gentlemen. However, the stats aren’t a facade. Once he began playing, the crowd immediately connected with the musician and was vibing with both his original songs and covers. He brought this classic rock’n’roll/country sound with him and on top of that, this dude was no frills and no gimmicks — just straight up jamming on stage and singing his heart out. For me, it was an unexpected shining moment of the night, and it led perfectly into Aly & AJ’s headlining set.
Leading off the headlining set after a chorus of applause and cheers was Aly & AJ performing the title track off of Silver Deliverer. After a few songs, they noted that the album is very special to them so they intended to play a number of tracks from it as well as many of the classics that go undoubtedly unforgotten. For all diehard fans of the power duo, just as it was six months ago, this night quickly became something special as everyone was reminded how insanely talented Aly & AJ are in more ways than one.
I for one, was once again blown away by their voices. They are beautiful, melodic, powerful, and so soulful. The way they synchronize and harmonize is insane to witness each time. Not only that, they are synchronized in voice and performance. They lean away from the mic the same, they jam on their guitars the same, and they hit every note and every harmony with precision. It’s not only a show to simply enjoy the sounds of music with classic rock and country inspirations, but it’s also a show to witness carefully and lovingly crafted music by two individuals who become one once they hit the stage.
To wrap up the night, the “final” song was the title track of the tour, “Places to Run,” where the duo extended the chorus a few times to get the crowd chanting it back to them a handful of times and to push the energy in the building to an all-time high. After one hell of a final run of the chorus — where Aly & AJ hit notes strong enough to bust down walls — they exited the stage, leaving behind from a crowd that was deafening with applause and cheers for the inevitable encore. In no time at all, Aly was on the piano bringing in an ever-so-snide-yet melodic introduction to “Potential Breakup Song,” which transitioned into the frantically paced anthem that we all know and love and the crowd hit new decibels of loud.
Before we knew it, the night came to a close, and the iconic sisters of the music world departed the stage to yet another roaring wave of applause and cheers. With over twenty years in the business, a lot can happen to the quality of the music over that time for an artist. For Aly & AJ though, the evolution and maturity that can be seen and heard in their performances is truly admirable to experience. Especially hearing the shift from their 2000s work to the present day projects. It’s still them, it always has been, they’ve just simply evolved and matured. For myself, their performance just doesn’t get old.
Couch (the band, not the furniture!) played a sold out show to just over 500 people last Friday at Thunderbird Music Hall in Pittsburgh, PA. With a line wrapped around the building before doors opened and fans grinning ear to ear before even walking inside, I knew we were in for a good show. The music hall filled up fast, and I was lucky to grab a spot at the front before it got too crazy!
Opening the show was Georgia native and Nashville resident Stephen Day, an incredible performer on his own and even more wonderful with a full band. I wasn’t familiar with him prior to researching for this article, but after listening to him for only a few minutes I was a fast fan. He was incredibly captivating on stage and his style matched perfectly with Couch, making him an excellent choice for an opening act on this tour.
Following Stephen Day isn’t an easy job, but if anyone could handle it, Couch would be the group to do so. I’ve seen Couch a handful of times, including their opening for Ripe at Mr. Smalls, a headliner in Harrisburg at HMAC, and opening for Cory Wong at Stage AE. Every performance has been better than the last, and this Thunderbird show was no exception. It was obvious from the beginning that they invested a lot of time and effort into creating their best show possible, from the lights and sound to their setlist sequencing to the band’s impeccable fashion, everything fit together just as it should and created an unforgettable performance for the audience. We laughed, we cried, and we boogied until we couldn’t boogie any more. We even got a surprise duet with Stephen coming back out to sing Autumn with Tema, which I’ve never seen performed duet-style live!
Couch’s Big Talk tour is continuing across North America through February before they take a break and then head to Europe in March, with many dates already sold out! I highly recommend jumping on this bandwagon and streaming their 2025 debut album, Big Talk, as well as their no-skips 2023 EP, Sunshower. Tour dates, merch, and everything Couch you could ever want to know can be found at couchtheband.com.
If you have never seen The Wombats live, you are missing half the fun!
Supporting their newly released, sixth studio album “Oh! The Ocean” The Wombats have been on the road with a huge list of cities they’re hitting to share the fun and fantastic music with long time fans and some new ones, just discovering the band.
The fact that they now have six albums of material that not only translate well to the stage, in some cases it may actually surpass the recorded material. You just can’t bottle the energy of the classic Wombats tracks like “Moving to New York” or “Techno Fan”. The new album, however, throws some hard challenges to those tracks. “Blood on the Hospital Floor” brings the frantic dance vibe. While tracks like “Holly Sugar” and “Can’t Say No” display the brooding side of the Wombats that has always been just below the surface of the smoke screen of high energy danceable, pop music.
The set at the Roxian Theatre was delightfully long and diverse, running through a total of 21 songs that provided the perfect sampling and example of what The Wombats are all about.
Overall, a fantastic night with a fine group of marsupials, well worth the price of admission.
This run is almost over but the band has announced they’ll return in January for another set of US shows.
X Ambassadors returned to San Francisco on Saturday, September 6, for a special night at The Fillmore, celebrating the tenth anniversary of their debut album VHS with the aptly named VHS(X) Tour. The band delivered by performing the reworked VHS(X) in full, a project that takes their 2015 breakout and reframes it through a decade of growth and experience. Songs like “Hang On” and “Low Life” carried a weight that spoke to the band’s evolution, while fan favorites “Renegades” and “Unsteady” drew the loudest reactions of the night.
The audience connection was undeniable. “Renegades” erupted into a sing-along chorus that rattled the walls, while the hushed vulnerability of “Unsteady” transformed the room into something close to sacred silence. These contrasts—between anthemic catharsis and intimate reflection—captured the spirit of the night: a celebration of where the band has been and a statement of who they are now.
What made the Fillmore show stand out was how X Ambassadors managed to honor their past without feeling trapped by it. VHS(X) isn’t just a nostalgia act; it’s a reinterpretation of a defining moment in their career, one that feels urgent and alive ten years later. By the time the final notes rang out, it was clear the performance wasn’t just a concert but a communal experience—an invitation for fans to relive the memories attached to these songs while embracing the new meaning they’ve taken on.
On a beautiful Friday night, The Fray brought both nostalgia and new energy to the Fox Theater in Oakland, celebrating the twentieth anniversary of their landmark album How to Save a Life. For many in the crowd, the record was a formative part of the mid-2000s, and hearing it performed live in its entirety was both moving and unforgettable.
Isaac Slade, the band’s original lead vocalist and pianist, left The Fray in 2022. His voice had defined much of the group’s early sound, so the change was significant. Still, the essence of the music remains intact. Longtime guitarist and co-writer Joe King stepped forward as frontman, a role that feels natural given his history with the band. He had always contributed backing and occasional lead vocals, and now his voice carries the songs with both confidence and care. The difference is subtle but meaningful. King’s vocals sound more pure, with a clarity that gives familiar tracks new depth. Songs like “Over My Head (Cable Car)” and the title track “How to Save a Life” felt faithful to the originals, yet refreshed in a way that heightened their emotional pull. In some moments, the songs even seemed to bloom in ways that went beyond the recorded versions.
The performance also came after a long pause in The Fray’s career. The band has not released a full-length album since Helios in 2014. After years of relative quiet, they’ve promised that a new record is finally on the horizon. What made the night especially memorable was that the band played every song from How to Save a Life. Experiencing the album as a whole—track by track—was more than a nostalgic gesture. It allowed the audience to relive the record as a complete journey, from the soaring anthems to the quieter, more introspective cuts. Hearing the record in full captured both the highs and the quieter, more vulnerable moments that made it so enduring.
Musically, The Fray sounded sharp and intentional. Every piano line, guitar swell, and drum hit carried weight, proving that these songs still mean as much to the band as they do to the fans. Rather than simply revisiting their past, they brought new life to it.The Fox Theater’s ornate setting added to the atmosphere. Golden light shimmered against its historic walls while the audience filled the space with their voices. At times, the crowd’s singing nearly overpowered the band, especially during “You Found Me,” turning the performance into a communal celebration. In the end, the night felt less like a reunion with old memories and more like a reminder of why How to Save a Life has endured. The Fray showed that even twenty years later, their music continues to connect—deeply, honestly, and without losing any of the heart that made it matter in the first place.
Khruangbin, a three-piece band from Houston, Texas, graced Stage AE on June 21 for their A LA SALA tour. Soaked in colorful lights, a hefty amount of artificial fog, and good vibes all around, the band kept the heat up on that extra warm Saturday in Pittsburgh.
Truthfully, I’ve never been able to fully describe Khruangbin’s music. I always say it’s the best music you could play in the background of any setting – cleaning your room, a dinner party, studying, etc. – but it is not music that you should only listen to in the background. You should listen to it closely because, even though they rarely have lyrics in a majority of their songs, their music speaks volumes.
Khruangbin performs at Stage AE, joined by opener John Carroll Kirby and his band, on June 21, 2025. (Jess Daninhirsch/Live From The Pitt)
But before I launch into the main act’s performance, I want to spotlight the opening act. John Carroll Kirby, a producer and pianist, opened the show with four other band members: a guitarist, another keyboardist, a drummer, and most memorable, a flute and saxophone player.
The flautist, Logan Hone, stole the show. He had so much character, energy, and personality that he remained center stage while Kirby set himself off to the side. The crowd took a moment to warm up when the band first came onstage, but everyone instantly lit up when Hone started dancing around with his flute. And they were extra enthusiastic when Hone brought out a hacky sack.
John Carroll Kirby opens for Khruangbin at Stage AE on June 21, 2025. (Jess Daninhirsch/Live From The Pitt)
Kirby’s music was the perfect complement to Khruangbin’s. It was imaginative and soothing while still full of energy (and a bit of disco). At one point, they faded out a song, and Kirby said “Now the music is in your head,” while people kept clapping to the beat and dancing.
More concerts should have flutes. Don’t just leave it to the symphony!
At last, Khruangbin came onstage, appearing in the archways toward the back of the stage in a cloud of fog. The setup was reminiscent of an adobe house or Spanish-style architecture, likely to pay homage to their hometown of Houston.
The band’s name means “airplane” in Thai. It seems that they draw influences from Thailand as well as Spanish-speaking countries and their home state of Texas into their music, creating a very worldly sound.
It is mindblowing to me how just three people can create such a full, rich sound. With Laura Lee on bass, Mark Speer on guitar, and Donald Johnson, Jr. on drums, it sounded like at least three more people had to be on the stage, too.
But the three of them never spoke to the audience. In fact, because many of their songs don’t even have lyrics, they rarely used the microphones. They moved slowly and methodically – almost hypnotically – but they communicated everything they needed to with their facial expressions. Most of the time they were neutral, but you could tell that the band members love interacting with each other and with the crowd – even if it’s not spoken.
In addition to their worldly sound, Khruangbin also tied in themes of weather and the natural world – apt for the weather we’ve been having in Pittsburgh. They came onstage as the sun was setting, and they kept the sunset colors going throughout the night with bright lights on screens behind them and a fog machine that captured the colorful lights and spread it across the crowd.
Logan Hone performs with John Carroll Kirby and his band at Stage AE on June 21, 2025. (Jess Daninhirsch/Live From The Pitt)
Many of the songs had warm, sunset-like colors, but some of them had cool colors as well. One song even included a lightning effect on the monitors behind them. The colors matched the vibes of each song, shifting from a rock-like song, to a chill one, then picking up to more of an EDM style.
The band that I always thought of as “background music” completely captivated everyone’s attention. Fans were simply grateful that this Texan band brought their music to Pittsburgh. Some people brought bubbles and many fans dressed up like 1960s hippies or cowboys. People danced and kissed. The air was full of love and cigarette smoke.
Khruangbin loves to showcase their fans on their social media platforms, always with the caption “People Everywhere,” often taken by their photographer Jackie Lee Young. It makes them feel like more than just a band. It is a community. They bring people together from all walks of life, all over the world.
Their album “A La Sala” came out in April of 2024. The name means “To the room (or hall, or salon)” in Spanish, once again drawing from their Texan roots. It is like an invitation to the listeners to come with them on a journey or just to relax and think for a while. And they are bringing this “room” all over the world. So that is how I would describe Khruangbin’s music. It is an experience. One best to be shared with people everywhere.
Photos: Abigail McNatt Review: Chris “Oberrated” Ober
Betty…Who? I could have possibly been one of the few people asking this question walking into the venue, Spirit Hall, located in Lawrenceville within Pittsburgh, Pennsylvania. On a hot Wednesday evening, things seemed like they were about to get intimate at a venue known for its cozy space, and who better to bring people together than an artist like Betty Who who champions belonging, individuality, and love?
Betty Who wasn’t flying solo on The Out of the Darkness Tour though, she brought the powerhouse trio Molly Grace along with her. They toured together for the entire Eastg coast leg, with Pittsburgh marking Molly Grace’s last show of the tour, making this night extra special for all involved. But before the goodbye hugs and kisses, there was a job to do, and that was to sing and perform. And let me tell you, Molly Grace delivers. Not only can the lead, Molly, sing, but so can her ✨lover girls✨, Mary Clark and McKenna. And I mean really sing. From start to finish, the pipes on these women were on point. And what about the shoWOMANship?! They owned the stage while hitting some moves straight out of the Diana Ross & The Supremes playbook, and I honestly loved every moment of it. Molly Grace is nothing short of fabulous, enticing, magnetic, and magical.
With only two acts on the bill, it was already time for the headliner. Betty Who came out in dazzling fashion, sporting some 90s-esque apparel, accompanied by pounding bass-filled soundwaves and roaring cheers and applause of a raucous audience. It wasn’t long until everyone was dancing and jumping along as Betty was nailing synchronized choreography alongside dancers Chris and Sebastian, as if they were selling the most requested and sought after 90s workout video. Betty Who’s set started with a bang, and it was apparent that everyone in attendance was going to get their money’s worth out of this show.
I can’t emphasize enough the high-level showmanship of both Molly Grace and Betty Who. These two ran the stage in its entirety and used every inch, feeding off the energy of the crowd. Betty Who’s set was so much fun and her and her dancers were giving energy, making it impossible not to vibe and dance with them. Now sure, an artist could do an entire set of high-energy power songs and have the audiences’ feet fall off by the end of the performance, but Betty Who gave us a few slow, intimate moments too. More sentimental and connecting tracks were played like “Missing You” and my favorite slower one of the night, “BIG”, which is such an empowering track. Empowering anthems seemed to be the trend throughout the setlist and I loved that.
Another unforgettable moment of the night was when Betty Who brought out Molly Grace one more time for not only the night but for this leg of the tour. After a brief introduction and reciting why Molly and her lover girls were such a positive presence on the tour, a duet broke out to the tune of “What Dreams Are Made Of” by Hilary Duff from the mega blockbuster movie, The Lizzie McGuire Movie, to which the crowd rightfully lost their collective mind and everyone was singing along and even reciting the smaller nuances from the scene that the song was from. I had a good chuckle from the “sing to me Paolo!”s that crept out from the crowd.
Betty Who came through Pittsburgh and made the packed Spirit Hall sound like a full-blown stadium show. This place was BUMPING and she 100% knew how to work her crowd. Betty closed out the show with some of her biggest bangers like her cover of “Running Up That Hill”, “Somebody Loves You”, and “BLOW OUT MY CANDLE”. She wrapped up the night with her cover of “I Love You Always Forever,” a moment filled with love, energy, and power, which couldn’t have been a more perfect sendoff for her legions of adoring fans reluctantly ending the night and returning to normal life. I can say one thing’s for sure — I won’t be asking “Betty, who?” ever again. Statement made, presence felt. Betty Who is one hell of a performer and is simply iconic.
On February 18, Wallows returned to the Steel City once again for their Model & More Tour.
With the band growing out of Stage AE, many wondered what venue Wallows would play when they came back to Pittsburgh. The UPMC Events Center, on Robert Morris University’s campus, turned out to be a wonderful choice. There’s something about seeing a band you love in a new venue that makes the night feel like uncharted territory.
Fans were packed in early, buzzing with anticipation—some in Wallows merch from past tours, others chatting about what songs would make the setlist.
The entire floor was the general admission pit, with the main stage at the front and a B-stage towards the back of the arena. Halfway through the show, each Wallows member made their way to the second stage for a few acoustic songs.
Shockingly, Dylan Minnette passed directly through the crowd while he sang “She’s An Actress” to the sea of fans surrounding him. You could see the shock spreading across the concertgoers’ faces as he walked right by. It was hard to hear the song over the echoes of screams from the fans.
The acoustic set felt like a breath of fresh air in the middle of the show. Stripped down and a little softer, it gave everyone a chance to catch their breath. Even from the very back, you could feel the connection between the band and the crowd—each band member was interacting with the people around them.
By the time the acoustic portion ended and the band was walking back to the main stage, Braeden Lemasters began to sing “Worlds Apart” from their debut album, Nothing Happens. Everyone was looking around to see where he was singing from, because he seemingly disappeared. Suddenly, he revealed himself up in the very back row of the venue with a spotlight on him. The fans who bought the nosebleed tickets never would’ve imagined getting to see Lemasters performing this close, and were ecstatic.
From start to finish, the crowd sang along, jumping and swaying like one big wave. The energy in the room was swelling and burst during the encore when the first notes of “Are You Bored Yet?” rang out—suddenly, every phone was in the air, everyone screaming the lyrics together. As the final notes faded and the lights came back on, you could feel how much fun this show was—not just to the fans, but for the band too.
Wallows have always had a way of making even a packed venue feel personal. If this show proved anything, it’s that no matter how big the venues get, their connection with fans is only getting stronger.
When I was 12, I spent about 6 months in the hospital. I won’t get into details, but during that time my older sister loaded up an iPod for me to have. The first album I gravitated towards was A Lesson In Romantics, released in 2007. The first time I had ever listened to a punk band, a moment that would change my music taste forever. Later in 2011, I would attend my first concert, Mayday Parade and the University of Pitt at Greensburg. While I do not listen to Mayday Parade as much as I did back then, the band still holds a special place in my heart. Being able to attend and photograph this show was awesome.
Stage AE Indoors is such an awesome venue, and Mayday Parade brought one of the best lighting setups I have ever seen. Large screens behind the band played different animated videos, featuring song lyrics and awesome visual art relating to the albums. The crowd was locked in the entire night, belting out lyrics and jumping around. It wouldn’t be a punk show without a few crowd surfers as well!
Mayday Parade is celebrating TWENTY years of being a band, after their first release in 2005. What a better way to celebrate a milestone like that, than to take the crowd through the years. The setlist went chronologically, as they played a couple songs from each release over the years. However, the band did open with a song of their newest release before getting into the older music.
Not only did the setlist take the crowd through the years, it also took the crowd through every emotion you can feel. The band was able to slow it down with songs like “Miserable at Best” or “Terrible Things,” accompanied by a beautiful piano performance by lead vocalist Derek Sanders. The setlist also brought the energy with classic songs like “Jersey” and “Oh Well, Oh Well.”
A fantastic mix of old and new, a performance for fans of all Mayday Parade eras. Closing out the night with an encore of “Jamie All Over” was the perfect capstone to a great show.
Photos and words by Tom Randall (www.instagram.com/trandallphoto)
