Say Anything brings the 20th Anniversary of "Is A Real Boy" to Harrisburg

November 16, 2024

Harrisburg became a musical confessional as Say Anything rolled into town on their current tour celebrating the 20th Anniversary of their iconic album,  'Is a Real Boy.' From the moment Max Bemis sauntered onto the stage—equal parts ringleader and raconteur—the Harrisburg Midtown Art Center was brimming with a raw, unfiltered energy that threatened to crack the building’s foundations. This wasn’t just a concert; it was a communal exorcism wrapped in clever, sardonic lyrics and the bombast of a band that knows how to leave it all on the stage.


The show opened not with a bang but with a tease. Dim lights swirled over the crowd as the haunting opening chords of “Belt” crept into the room. Bemis strutted onto the stage like a grungy Shakespearean antihero, clutching his mic stand as if it were a scepter. His voice—still jagged and impassioned—tore through the iconic first line: "And, the show begins with a song of rebelion."


Max Bemis commanded the stage with an energy that felt almost paradoxical—half self-aware rock star, half self-deprecating poet. Between songs, he riffed on the absurdity of revisiting Is a Real Boy in 2024, joking about its youthful angst but simultaneously embracing it like an old friend. His voice, raw and imperfect, added an authenticity that perfectly suited the evening’s themes of insecurity, longing, and rebellion.

Highlights included a searing rendition of "Alive with the Glory of Love," which had couples clinging to each other and strangers bonding over the sheer force of nostalgia. The performance was equal parts theatrical and heartfelt—a reminder that Say Anything’s music lives in the messy spaces between irony and earnestness.


Despite his scattershot banter, Bemis’ vulnerability anchored the evening. Songs like “The Futile” and “I Want to Know Your Plans” felt like pages torn from a diary, raw and confessional. Bemis has always walked the line between poet and provocateur, and here he danced on that edge, charming the audience with his uncanny ability to make dysfunction feel universal.


Say Anything shows have always been as much about the crowd as the band. Last night’s audience was no exception, embodying the album’s themes of existential frustration and defiant joy. From the front-row diehards to the casual fans in the back, the energy was infectious. One highlight came during “Woe,” where Bemis handed the mic to a fan who belted the bridge with so much conviction you’d think they wrote it.


The show closed with "Admit It!!!," arguably the most blistering takedown of hipster culture ever written. Bemis delivered the song’s venomous tirade with a grin, and the crowd ate up every word. As the band exited the stage, Bemis lingered for a moment, looking out at the audience as if soaking in the last bits of shared energy. No frills—just a perfect, abrupt ending to a night that didn’t need embellishment.


Say Anything’s performance of Is a Real Boy in Harrisburg was a reminder of why this album remains a touchstone for so many. It’s not just the music, though that alone is impressive—it’s the way Bemis and company capture the messiness of being human. For a few hours, we weren’t just an audience; we were co-conspirators in an emotional heist.


So if this tour is coming to your city, don’t miss it. You’ll leave hoarse, sweaty, and maybe a little more in touch with the awkward, angry teenager you used to be—or still are. And really, isn’t that what rock and roll is all about?

Say Anything

'Is A Real Boy Tour'


Harrisburg Midtown Arts Center - Harrisburg, PA

November 9, 2024

Article Written By:

Matt Christine

Summer of Loud Turns the Historic York Fair Into a Full-Throttle Metal Mayhem

By Matt Christine • July 22, 2025
There are few tours as dynamic on the road this summer as The Summer of Loud tour and somehow this pyro heavy mega tour made it's way to the most unlikely stop in Pennsylvania as it touched down at the 260th Historic York Fair - a country fair mainstay that is more likely to have some country twang than a dozen mosh pits and crowd surfers. As America’s oldest fair, dating back to 1765, the York Fair has hosted everything from tractor pulls to livestock shows to fried Oreos. But this year? It became a coliseum of breakdowns, blast beats, and crowd roars thanks to the Summer of Loud Festival. The historic fairgrounds were transformed into a headbanger’s haven, echoing the legendary chaos of past Mayhem Fests. The rotating lineup of the tour was at full force, and for this stop, we were treated to Dark Divine, Alpha Wolf, The Devil Wears Prada, The Amity Affliction, I Prevail, Beartooth, Parkway Drive, and the mighty Killswitch Engage. Eight hours. No breaks. Just pure, relentless metalcore magic. However, for a festival of this magnitude, the York Fair security was absolutely not up to par. Fans were frequently dropped while crowd surfing, mosh pit safety was neglected, and response times to injured attendees were embarrassingly slow. Multiple crowd members complained about being shoved back into the pit after being pulled from it, visibly disoriented. It wasn’t just disappointing—it was dangerous. And some bands noticed… loudly. Kicking off the mayhem was Dark Divine, a fast-rising force in the world of theatrical metalcore. With a sound that blends haunting melodies, crushing breakdowns, and a visual aesthetic straight from a horror flick, these guys turned heads early on. Frontman Anthony Martinez prowled the stage with purpose, backed by a tight, atmospheric set that included fan favorites like “Deadly Fun” and “Halloweentown.” For a band still on the rise, they played like seasoned vets—and set the tone for a day of pure chaos. Then came the Aussies in Alpha Wolf, and with them came an avalanche of sound. “Akudama” was a war cry that blew the roof off the barn—figuratively, of course. “Creep” was a brutal wall of noise that had the pit convulsing. Lochie Keogh looked like a man possessed, pacing the stage like he was ready to pounce. Their set was raw, hostile, and unforgettable. The Devil Wears Prada hit the York stage with a blend of metalcore muscle and emotional weight. Mike Hranica’s intensity was unmatched—every scream felt like a release. Their tribute to the late Dave Shapiro was heartfelt and beautiful, a rare moment of quiet in an otherwise relentless set as Shapiro's legacy loomed large over this tour as the Summer of Loud was one of his final tours booked/announced currently. Next up The Amity Affliction brought their signature blend of melody and brutality to the crowd, and the audience was here for it. Joel Birch wasn't slowed down at all by his broken ankle and had a sea of fans belting out the lyrics during “Like Love,” and his screams during “Pittsburgh” could be heard all the way across the fairgrounds near the deep-fried candy stand. I Prevail hit the stage with a non stop burst of pyro with “Bow Down” and kept the firestorm rolling through “Hurricane.” Their tribute to Dave Shapiro and their now-iconic cover of Taylor Swift’s “Blank Space” brought big crowd reactions as did their comical country fair face paint that they all had done before hitting the stage. Their set was bombastic, emotional, and perfectly executed. And then there was Beartooth. From the first scream, Caleb Shomo was a man on fire—but not just from the music. Throughout the entire set, he repeatedly called out security for dropping fans, ignoring crowd injuries, and failing to control the barricade area. “Do your job and catch people!” he shouted mid-song, his voice frustrated with anger and at a guard who clearly snarked back at him in the barricade. The security's short comings didn't prevent Shomo and Beartooth from delivering the best set of the day but it was certainly a frustrating undertone during their performance. Things got so tense that by the end of their set, crew members had to hold Caleb back as he stormed the edge of the stage, visibly furious about how fans were being handled. It was clear: this was more than just a show for him—it was a mission to protect his people. And while his performance was, as always, tight and passionate, it was the rage that left the biggest mark. What better way to follow that intensity than with the godfathers of modern metalcore? Killswitch Engage were absolute professionals, blasting through “The End of Heartache” and “Holy Diver” with surgical precision. Jesse Leach remains a powerhouse of presence, spending as much time connecting with fans as he does belting out anthems. Finally, Parkway Drive lit up the York Fair like the 4th of July with the most theatrical, explosive set of the day. Winston McCall stalked the stage like a general in war, commanding the masses through “Glitch,” “Prey,” and “Crushed.” But the highlight? The spinning drum cage with pyrotechnics erupting like a volcanic finale. It wasn’t just a show—it was a spectacle. Parkway Drive are the kings of controlled chaos, and they reminded everyone why. The 260th York Fair just got a new page in its long history—one written in sweat, distortion, and cathartic screams. While security needs a major overhaul before next year, the music, the passion, and the unity of the fans made this a day for the history books. Let’s do it again next year—but maybe hire security that knows a mosh pit from a hay bale.

Jack's Mannequin return to Philadelphia for another SOLD OUT show

By Matt Christine • June 13, 2025
On June 8, Jack’s Mannequin swept into the Fillmore Philadelphia for the hometown stop of their Made For Each Other 20th-anniversary tour, turning the storied ballroom into a reunion between new Andrew McMahon fans from his solo era and the fans who grew up with his songs in Jack's Mannequin. A burst of lights and the band made their way to their places on set as the massive LED screens behind them flicked to life with the roar of the crowd—almost before the crowd could catch its breath—the band dove head-first into “Bruised,” instantly launching a full-room sing-along for the first time of the night. The family style sing-alongs would continue all night long because a Jack's Mannequin show is more than just a concert, it's a gathering of fans of all walks of life. Rather than lean solely on radio favorites, McMahon built a career-spanning arc that kept veterans and newcomers guessing. Early standouts “The Mixed Tape” and “Amy, I” landed with arena-sized fervor, while deeper cuts like “Spinning,” “Television,” and the introspective “Cell Phone” offered welcome detours for die-hard listeners. Mid-show, the tempo dropped for a surprise, lights-down, almost-whispered rendition of “Hammers and Strings (A Lullaby)”—performed nearly a cappella, save for a few plaintive piano chords. It was McMahon’s first time revisiting the lullaby in years, and the silence that followed its last note spoke louder than any applause. The final stretch was a one-two-three knockout: “I’m Ready,” “The Resolution,” and the soaring “Dark Blue,” each chorus louder than the last. After a brief exit, the band returned beneath a single spotlight for the encore. McMahon tipped his cap to the tour’s namesake, easing into the gentle “Restless Dream” before the full ensemble erupted into the sprawling suite “MFEO: Pt. 1 — Made For Each Other / Pt. 2 — You Can Breathe,” turning the title track into a communal vow to keep moving forward together. Twenty years on, Andrew McMahon and company showed how to honor a past without getting trapped in it: by laughing at the room you’re in, risking a fragile ballad in the middle of the party, and playing every song like it still belongs to today.

Shakira brings the 'Las Mujeres Ya No Lloran World Tour' to Atlanta

By Matt Christine • June 4, 2025
After a rocky start to her U.S. leg, with technical issues forcing the postponement of both the Washington, D.C. and Boston dates, Shakira delivered an electrifying, glitch-free performance in Atlanta that more than made up for the delays. The sold-out show at State Farm Arena proved why the Colombian superstar remains a force in global pop music: it was a spectacle of raw emotion, razor-sharp choreography, and dazzling stagecraft. Every moment felt polished and purposeful, yet deeply personal, a balance only a veteran performer like Shakira can pull off. The night opened with La Fuerte, a powerful declaration of intent that set the tone: this tour is about resilience, evolution, and feminine power. With minimal delay, she launched into a fierce rendition of GIRL LIKE ME, originally with the Black Eyed Peas, injecting it with her signature moves and vocal style. The audience, many of whom were adorned with glittering wolf ears and flashing LED bracelets, responded instantly, roaring as she transitioned into a nostalgic medley of Las de la intuición and Estoy aquí. It was a clever juxtaposition—early-career Shakira meeting her modern self, both artists occupying the stage in harmony. One of the most emotionally potent sequences came with Empire blending into Inevitable, where her vocals took on an operatic, almost volcanic intensity. The screen behind her exploded with elemental visuals—lava flows, crashing waves—mirroring the emotional crescendo on stage. This wasn’t just a concert; it was a catharsis. Later, Acróstico offered a softer moment, featuring a touching video of her children Sasha and Milan singing along, which visibly moved many in the crowd. You could hear a pin drop as Shakira sat on a stool, wiping away tears mid-performance. In terms of showmanship, the middle of the setlist was where Shakira proved her mettle. Copa Vacía, La Bicicleta, and La Tortura formed a seamless trinity of reggaeton and cumbia-infused pop, each song melting into the next with smooth transitions and high-energy dance breaks. She momentarily disappeared backstage during Chantaje, only to reemerge in a vibrant new costume and launch into a salsa version of the hit that transformed the entire arena into a nightclub. By the time she reached Whenever, Wherever, complete with a dramatic belly dance introduction using knives, Shakira had the entire arena in the palm of her hand. Her hips truly didn’t lie, and neither did the crowd, erupting into a thunderous sing-along. That energy spilled right into Waka Waka (This Time for Africa), which featured a thrilling Champeta breakdown and pulsating rhythms that was the infectious anthem of the 2010 World Cup. Shakira left the stage like a mythic figure—part woman, part legend—having proven once again that she isn’t just a performer. She’s a storyteller, a mother, a rebel, and above all, a she-wolf with a story still very much in motion.