Bayside returned to Philly this past week for a two night stand celebrating their music both old and new. i99Radio was on the scene to capture night one of two. For the first night, Bayside brought songs from their early years, 2004 to 2008. For many of us, it takes us back instantly to the songs of our childhood, middle and high school years, and the audience spanning Gen X to Gen Alpha came ready to rock.

Long Island, NY’s The Sleeping started the night off and brought their unique blend of post-hardcore and raw energy to the stage that really got the audience going. People thrashed around and sang along, and even a toddler hopping up on his dad’s shoulders to get a better view of frontman Doug Robinson, who climbed up to the barrier, putting his microphone up to fans to sing along with them, and eventually even crowdsurfing above their heads at one point. The band has been experiencing a revival since their reunion in 2022 and their fantastic newest album, “I Feel Like I’m Becoming a Ghost”, dropping in 2023.

Bayside then took the stage, kicking off their set with the classic track, “Montauk”, from their second self-titled album. Frontman Anthony Ranieri commented how their idea for the “Errors Tour” came about when they wanted to play 44 songs in each city, instead of just 22. He talked about how the band has so many songs that fans love from all across their career, but not enough time to play them all, so they thought, “why not just play 2 nights in every city?”

The night of classic nostalgia continued on, with the band delivering high-energy versions of much loved tracks from their third album, 2007’s “The Walking Wounded”, like “Duality”, “I and I”, and the ballad “Landing Feet First” (of which started a massive audience singalong). The band also reached far back in their discography, playing tracks from their first years as a band, like “Masterpiece”, “Guardrail” and “Kellum”, off of the first album, 2004’s “Sirens and Condolences.” The audience was audibly excited by this, as these tracks are very rarely played live. The audience cheered loudly and unleashed a constant stream of crowd-surfers to the front of stage as they ripped through these classic tracks. The “newest” songs they played for night 1 were tracks from 2008’s classic album, “Shudder”, like “Boy”, “No One Understands” and “The Ghost of St. Valentine”. Again, many of these tracks haven’t been played since the Shudder Tour in 2008 so hearing these songs was certainly a treat for the audience.

Bayside’s show at Brooklyn Bowl was a testament to how the songs we grew up with are forever engrained in our DNA, the music grows with us and becomes a part of us as we grow older, but we never forget the songs that influenced us almost two decades ago. The 1,000 people in the audience who turned up to sing every word of these songs that are almost 20 years old now proves this to be true and Bayside to be a band close to so many people’s hearts.

Photos by Dave Avidan

“High as Hope” is the fourth studio album by Florence + the Machine featuring Florence Welch’s summoning vocals. This album is a reflection note written by Welch looking back at her younger days, and beginning to make peace with the mistakes of her past. In an interview with Universal Music about the new album she explains, “The last record was like ‘Oh I can date the solution! I can drink the solution! Or like take the solution.’ I think this record is definitely recognition of, ‘Oh no, you can’t’.”
The ten-track album begins with the song “June” that starts with Welch’s voice layered over melodic strings, and perfect harmonies until a wave builds up from the chorus all the way to the end of the song. There is crescendoing synth, drums, bass, and even more harmonies that rush in like a falling tide. “Hunger” is one of the singles to come off of the album, the other being “Sky Full of Song”. “Hunger” is a powerful upbeat ballad of Welch’s own personal battle with addiction whether it be to drugs, alcohol, or even people. In an instagram post she shared that this song was never intended to be a song, it was meant as a poem trying to express how she looked for love in things that were not love. She shows off her incredible range on the piano accompanied “Big God”. On the chorus she sings “You need a big god / Big enough to hold your love / You need a big god / Big enough to fill you up” referring to herself, as she needed something more than a physical person to help her deal with the overwhelming pain of loss of relationship she was going through.
Welch’s vocals are nothing short of flawless, but as for the production it is not up to par with previous Florence + the Machine albums. Although on “100 Years” she captivates her audience with a tribal like drum beat to back her, ultimately, from a musical standpoint the album feels dry and slightly forced. Most of the tracks don’t have any sort of riveting hook or chorus that makes a listener want to keep hitting replay, with the exception of the two singles. Although, “High as Hope” may not be their most interesting, or risk taking album, it certainly shows Florence in her most honest and raw form, and there is something to be said about putting that much truth and revelation into an album.
“High as Hope” is available for streaming now on Spotify, Apple Music and YouTube, and check the band’s website for a full list of their dates for both their North American and European tour.

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