LIVE RIFFS
Philadelphia, PA - 03.06.26
There is a special kind of magic that happens when a band like Baroness plays a basement in their own backyard. On a Friday night in Philly, the Savannah-bred, Philly-based heavyweights returned to Underground Arts, proving once again that while they’ve conquered festivals worldwide, their sound is best served in the fog-filled, high-voltage intimacy of a packed club below the streets of Philadelphia.
Having last hit a Philadelphia stage in December 2024, the anticipation was palpable. This wasn’t just another tour stop; it felt like a homecoming.
From the opening notes of "Last Word," it was clear the quartet was locked in. Founding frontman John Baizley commanded the stage with his signature blend of grit and vulnerability, but it’s the dual-guitar alchemy between him and Gina Gleason that continues to be the band’s superpower. Gleason is a force of nature with her backing vocals and blistering leads providing the perfect counterpoint to Baizley’s foundation.
The rhythm section of Nick Jost and Sebastian Thomson remains one of the tightest in the genre. Jost’s ability to pivot between thunderous bass lines and atmospheric keys, all done with a smile on his face, added a layer of depth to "Under the Wheel," while Thomson’s drumming provided a relentless, driving heartbeat that kept the Callowhill venue vibrating.
What stood out most wasn't just the technical proficiency, but the sheer joy on stage. In a genre that often leans into the "brooding artist" trope, Baroness was refreshingly upbeat and smiling the whole time. It was obvious they weren’t just "checking the block." They were genuinely having a blast.
Midway through the set, Baizley took a moment to reflect on the room, expressing sincere gratitude for the opportunity to play for everyone. That connection between the stage and the floor is what makes the Philly scene special, and Baroness leaned into it completely.
The encore, featuring the classic "Isak" followed by the mandatory "Take My Bones Away," left the audience exhausted and ringing. In a city that demands authenticity and hard work, Baroness delivered both in spades. They don't just play riffs; they build monuments out of them.
It was genuinely fun to watch Baroness on stage and we enthusiastically wait for their return.
Baroness
Philadelphia, PA - 03.21.26
The Amity Affliction
Seeing Farewell Days live for the first time gave a clearer sense of what the band is building toward. After initially stumbling onto them through Instagram, the live setting was the real test and like a lot of newer bands coming up through the Philly circuit, the difference between online presence and stage performance is where you start to get a real sense of what the band can do.
A good portion of the set leaned on unreleased material, with frontman, CJ Davis, noting that several tracks are set to appear on an upcoming album. It gave the night more of a forward-looking feel, less about what’s already out and more about what’s coming next.
With openers normally having shorter sets, they really seemed to make the best of their time. The band closed things out with “Fold” and “Owl Song,” two of their more recognizable tracks, and it showed. As soon as the guitars kicked in on "Fold" the entire room was riding the riff uncontrollably. The crowd response was noticeably stronger and the band seemed locked in.
Davis looked comfortable up front and carried himself like someone who knows he belongs there. He stayed engaged with the crowd and helped keep the energy consistent, even when the material was unfamiliar to most of the room. Vocally, there were moments where he cut through the mix more clearly than on studio recordings, giving certain parts more punch live.
That said, the set also showed where there’s still room to grow. In the higher vocal range, there were moments where the delivery didn’t quite land, with some visible strain behind it. It’s not unusual as plenty of seasoned bands still wrestle with hitting everything clean in a live setting, especially in heavier genres. For a newer band, it’s part of the process. Tightening that aspect would go a long way in bringing the live performance up to the level the band is aiming for.
Overall, Farewell Days feel like a band in motion. The pieces are there . . . stronger live presence, new material that shows range, and a frontman settling into the role. Now it’s about dialing things in and sharpening the edges.
Philadelphia, PA - 05.17.26
Farewell Days
The Spring Horizons tour stopped at The Fillmore on a Sunday night, with August Burns Red headlining and The Amity Affliction in the direct support slot, following sets from Boundaries and Heavensgate. With three other bands on the bill, there wasn't much time to build up slowly, and the Australian band didn't try to. They got on stage and got to work.
They opened with "Vida Nueva," a quieter choice for an opener, before moving into "Kickboxer," which is where the room really woke up. The floor went from standing around to picking up movement within a song or two. Joel Birch spent most of his time at the front edge of the stage, talking to the crowd between songs and keeping things moving without much downtime.
The middle of the set- "Like Love," "Drag the Lake," "Heaven Sent," "All That I Remember" - didn't slow the pace down much. Dan Brown handled guitar, Jonathan Reeves was on bass and backing vocals, and Joe Longobardi kept time on drums. Nothing flashy, just a band that's played these songs enough times to not need to think about them.
"It's Hell Down Here" and "House of Cards" picked things up again, mixing older material in with newer songs without it feeling disjointed. "Chasing Ghosts" into "Open Letter" got the loudest reaction of the set, with a decent chunk of the room singing along to both.
"All Fucked Up" and "Bleed" kept the energy up, and "Death's Hand" and "Pittsburgh" — two of the older, heavier songs — held up fine live. They closed with "Soak Me in Bleach" and left it at that. No encore, no extended outro, just done.
Fifteen songs, right around the length you'd expect for a support slot on this tour. It wasn't a flashy set, but it did what it needed to do . . . kept the room engaged and left things warmed up for August Burns Red to close out the night.
Blood Vulture
Philadelphia, PA - 03.06.26
Walking into Underground Arts this past Friday, I’ll be honest: I didn't know a thing about the opening band, Blood Vulture. I walked in with a clean slate and zero expectations, which is usually the best way to get punched in the face by a new favorite band. By the time they wrapped, my only complaint was that the set wasn't an hour longer.
HMFIC, Jordan Olds, was entertaining and engaging as the the front man. He describes his sound as "gothic sludge," and he was not kidding. There’s a heavy, melodic gloom hanging over their tracks that feels like a spiritual successor to Dirt-era Alice in Chains. It’s thick, it’s moody, and it feels right at home in a Philly basement.
Playing heavily from the June 2025 release, Die Close, the band moved through the set with a locked-in precision that made the heavy riffs feel massive.
While the whole set was tight, there was one mid-set track that stood out. The title escapes me, but it was a visceral, blood-soaked anthem about, well . . . sucking blood. It captured everything the band does well: catchy hooks buried under layers of grit. If you missed this one, you messed up. Blood Vulture is an all-around great show. They didn't just play a set; they took over the room.
August Burns Red
Lancaster, PA - 12.12.25
Standing in the gap between the stage and the barricade at a sold-out August Burns Red show isn’t about "capturing a moment." It’s about survival. By the time the Lancaster five-piece took the stage to close out Christmas Burns Red 2025, the air in the room was thick, hot, and vibrating. When you’re in the photo pit, you don't just hear the music; you feel the kick drum pounding in your chest and see the sweat flying off the headstocks.
There’s a specific kind of pressure that comes with being that close to a band that has been the backbone of this scene for two decades. ABR has established themselves as the most solid and consistent metal band, period. They don't have anything to prove anymore, yet they still play like they’re trying to tear the building down.
Hearing a Messengers-era instrumental like "Eve of the End" in 2025 felt like a gift to the people who have been there since the beginning. Standing three feet away from JB Brubaker sporting his trademark flip-flops and Brent "if your favorite metal band's guitarist looks like this then you're going to die in the pit" Rambler as they locked into those dual-guitar harmonies was a reminder of why ABR stayed at the top while so many other bands from that era burned out. They’re tight, they’re loud as hell, and they still clearly give a damn about the songs they wrote when they were kids.
From the pit, you see a different side of the show. You see the constant stream of crowd surfers pouring over the rail, the tireless work of the security team catching bodies, and the way Jake Luhrs leans over the edge of the stage to scream right into the faces of the front row. There’s no distance, no ego, and no "rock star" bullshit. It’s just a massive, loud-as-hell exchange of energy between five guys on a stage and a couple thousand people who would follow them anywhere.
Matt Greiner remains a freak of nature behind the kit. Up close, you can see the sheer speed and force he puts into every fill. It’s not just fast; it’s heavy in a way that makes your teeth rattle. He’s the engine that keeps the whole thing from spinning off the tracks, and seeing the focus on his face from the front of the stage is something every fan should experience at least once.
As the set wrapped up and the ringing in my ears started to settle, the takeaway was clear: August Burns Red is the gold standard for a reason. They don't need gimmicks. They don't need a massive production to hide behind. They just need five instruments, a setlist that respects the fans, and a room full of people ready to lose their minds.
For Brotherly Riffs, being in the trenches for this one was more than just a job. It was an absolute honor and a reminder that the Philly-metro scene is built on this kind of grit. We don’t do "pretty" music here. We do it loud, we do it right, and we do it together.
Invent Animate
Lancaster, PA - 12.12.25
Invent Animate didn’t just play a set at CBR—they hijacked the entire vibe of Freedom Hall. Look, everyone expects Christmas Burns Red to be a non-stop barrage of blast beats and Santa hats, but IA brought a cold, haunting atmosphere that made the room feel three times larger than it actually is.
Stepping out right as the sun went down, they proved exactly why they’re the kings of "ambient-core." It wasn't just loud; it was surgical. There were moments where the technicality was so dense I had to put the camera down and just take it in. Marcus has this way of commanding a crowd without ever having to scream over them, and seeing it live in Lancaster just hits different. If you weren't in the pit for this, you missed the most sophisticated set of the weekend.
Setlist included False Meridian, Sleepless Deathbed, Shade Astray, Heavener, Without A Whisper, and Immolation of Night.
Currents
Lancaster, PA - 12.12.25
Following a hauntingly atmospheric set from Invent Animate, Currents took the 8:05 PM slot on the first night of Christmas Burns Red 2025, providing the essential bridge between the technical metalcore of the afternoon and the legendary presence of the night’s hosts. The Connecticut quintet delivered a professional, high-octane performance that served as the perfect "heavy" appetizer for the main event.
Currents has spent the last few years refining their live show, and it showed at Freedom Hall. Frontman Brian Wille maintained a steady, engaging command of the crowd, leaning into the aggressive energy the Lancaster fans are known for. While the band’s sound is undeniably dark and dense, they kept the momentum moving, ensuring the energy in the room never dipped during their 40-minute set.
Currents’ appearance at Christmas Burns Red 2025 was exactly what fans were expecting: high-energy, technically proficient, and immensely respectful of the stage they were on. They proved to be a formidable presence in the modern scene, perfectly warming up the Freedom Hall faithful for the hometown heroes of August Burns Red.