DESTROY BOYS COMMANDS A PACKED UC THEATRE IN BERKELEY
PHOTOS BY NICK WILLIAMS
Northern California punk rockers, Destroy Boys, are no strangers to controversy or chaos. But through all the noise, their devoted fanbase shows up in droves whenever they’re in town. This was my second time seeing Destroy Boys, and once again, they didn’t disappoint.
Since last year, they’ve been touring their LP, ‘Funeral Soundtrack #4,’ but the material hasn’t gone stale. It seems to gain new life with each cycle. The band is clearly having fun on the road, and the crowd is feeding off that energy—a match made in punk heaven, or hell, whichever you prefer.
Their April 4 stop at the UC Theatre featured a stacked four-band bill, with support from False Flag, Deux Visages, and Mind’s Eye. It was also my first proper nose-dive into a photo pit, armed with my trusty Canon AE-1 Program, and my first time being handed a drink ticket with my credentials. Full disclosure: I was invited on behalf of the band and their label. However, let it be known that drink tickets don’t guarantee a five-star review, though they are appreciated.
First and foremost, the UC Theatre is freaking gorgeous! You are immersed from the moment you walk into the building’s parameters. On the outside, records align the fencing where fans queue for hours. They probably aren’t paying much attention to those records as they are itching for a barricade spot—but I did. Upon entry, the building is not only beautifully designed, but each wall is covered in photos of bands and Rocky Horror shadow casts who played there and show flyers on the other side. It’s like the coolest iteration of a teenage girl’s bedroom (or my bedroom that never grew out of that phase). The auditorium has stunning chandeliers, a few bars, and plenty of room on the General Admission floor for a Destroy Boys crowd. It’s cozy but not anxiety-inducing.
The headliners prioritize local mutual aid at each show, displaying booths from organizations they feel passionately about. I spoke with a group that educated visitors about visiting Palestine for ground-level relief efforts. One of the booth hosts had done it, returning with wide-open eyes and a fresh perspective of life in Palestine. They also provided a selection of Zines, and I picked up one that discussed the ups and downs of livestreaming at protests or during other social causes. Both booths had 3 minutes to speak before the headliners took the stage, eventually leading to a “Free Palestine” chant erupting from the crowd, myself included, from the photo pit.
False Flag kicked things off on a high note. The San Francisco group describes themselves as “Tenderloin Party Rockers,” which couldn’t be more fitting. Their scrappy, gritty sound was a great starting point for the energized night. Though rough around the edges, the band continually expressed gratitude towards Destroy Boys for granting them the opportunity to perform. Still, their sound is marked by strong social commentary. San Francisco receives criticism, but not typically for the right reasons. False Flag balances criticism and praise towards the city in their music, especially hailing from a vastly misunderstood neighborhood like the Tenderloin. Their stage presence effectively matched their music—I couldn’t take my eyes off their performance, even adjusting my manual focus.
Up next, Deux Visages showcased an entirely different vibe. They’re more indie-coded, but their energy still matched False Flag’s well. The Miami four-piece leans a little gaze-y, though they are perhaps with a shot or two of caffeine. Vocalist Daphney Hanono has a lovely stage presence, one that is both grounded and lighthearted at once. The stage seems to invigorate her spirit in a deeply personal way, as she engages with the music from a deep core level. However, that’s unsurprising since her band comprises exceptionally skilled musicians. Some of their guitar solos and leads are among the best that I’ve heard in a long time. Perhaps Deux Visages presents a genre-blend of indie, gaze, and punk rock. Regardless, their set is phenomenal and would appeal to a wide audience.
Admittedly, I became familiar with Mind’s Eye from their viral TikToks. However, it’s evident that the TikTok posts are not merely for marketing; founder Vince Lopez visibly has a lot of fun creating a caricature of his personality or familiar personalities around him…or both. That’s not a bad thing, either. Rather, Lopez’s stage presence steals the show. His engaging connection with the audience shines through, especially as personal anecdotes make their way into the set. Exaggerated or not, relatability helps generate new audiences while keeping current ones interested. At various points, Lopez mentioned matcha-induced tummy issues and having divorced parents—both situations I can highly relate to. Their set was among the longest of the support acts, but I didn’t mind, as both the music and on-stage antics were incredibly fun to watch and photograph. I feel like if any of the performers will appreciate my analog photos, it’s Lopez.
Finally, the headliners hit the stage after the mutual aid speeches, mic stands adorned in roses and vines. Of course, this is still ‘Funeral Soundtrack #4,’ so funeral props were also featured. The room cracked open as the music roared, fans buzzing with anticipation. Alexia Roditis consistently shifts seamlessly between snarling punk growls and glossy bilingual melodies. Their makeup looked exceptionally cool this evening, borderline corpse paint that was perfect for the funeral theme. Lately, guitarist Violet Mayugba has been hopping on the mic—a trend I’ve loved to see among my other peers in the scene lately. Allowing multiple voices to take the mic adds depth and texture to a band’s set, and Mayugba appears to love doing it. Every time, her confidence shines through more, insinuating a cathartic experience for all involved.
This time, though, the group was allowed to enjoy themselves more as their personal lives are not currently under an unwavering microscope. Instead, their presence soared with chemistry and joy in what they do. Set highlights always include songs like “Locker Room Bully,” and “Amor divino” which showcase polar opposite sides of Destroy Boys. The group is rarely given credit for their musical diversity, especially the ability to effortlessly embrace Spanish in modern rock music. Every time I hear punk songs in Spanish, I am deeply moved, since I was la pinche rockera de la familia, smudged panda eyeliner on display at every family function. I’ve always felt a kindred spirit with my peers in Destroy Boys, and this solidifies with each show.
Whether stripped down for a solo moment by Roditis or full-throttle for an “all-girl and non-men mosh pit,” Destroy Boys touched the spirit of every attendee. Their crowd spans from elder queer punks to wide-eyed kids discovering that spaces like this exist for them at all. No matter where they were coming from, everyone left the UC Theatre knowing they belonged—knowing they were heard. A Destroy Boys show isn’t just catharsis; it’s a collective exorcism. Souls leave bodies, skipping across the circle pit, finally safe to scream, sweat, and heal. It may have been their funeral—but long live Destroy Boys.
