Indie-rock group The Red Pears has been hitting the road with Ultra Q and The High Curbs, playing to legions of diehard fans nationwide. Their dynamic stage presence provides a unique live show; those unfamiliar with their work will undoubtedly leave the venue a new fan. A last-minute venue change brought this indie Monsters of Rock lineup to the iconic 924 Gilman St. venue (referred to as “Gilman” from this point forward), where I admittedly have spent quite a bit of time in recent years. This is no real surprise; Gilman is among the most essential venues in Bay Area live music history, making legacy acts’ careers skyrocket thanks to grassroots efforts from local communities. This energy transfers into every show I’ve been to at this venue, which is a crazy feeling to witness in real time after hearing my dad’s stories of playing there in the 80s and 90s with acts like Frightmare. Its diverse range of punk rock, indie rock, and metal allows the venue to stand tall among changes in music trends. The lineup for this show emphasized the venue’s core values despite being a last-minute change. It was the perfect home for this show to be performed.

The High Curbs started the show in high (ba dum tss) gear. I noticed from the start that each of the three groups on the bill had fervent fans in the audience, singing along to every word. It wasn’t just the hits, either; fans knew an alarming amount of each set, including the first act of the night, which isn’t commonplace at most shows. However, it’s understandable that this phenomenon occurred thanks to The High Curbs’ performance quality. They felt every word of what was being sung, allowing the music to guide them through profoundly personal lyricism, which resonated with the entire room. This was my first experience with The High Curbs, and I would gladly return to a set the next time they’re in town. Their indie and punk rock mixture made them the perfect fit for this bill, with heavier songs generating early mosh pits around 9 PM. Getting crowds to mosh that early is admirable—The High Curbs will never face the “opening act” treatment so long as they remain on tours that make sense for them. Their tight instrumentals curb-stomped any potential sound issues that can and do occur at Gilman. It’s a hole-in-the-wall; bands are left to the mercy of their gear to create the sound they desire. The High Curbs pay a lot of attention to their rigs. Nerd moment: I was observing what they were using, and they did a lot with a relatively simple setup, generating one of the best opening sets I’ve ever seen in that space.

I cannot even lie; this was my third time seeing Ultra Q this year…twice at this venue. Still, there was a bit of mystery as it had been 5 years since I had seen them as an opening act; typically, my friends and I try to catch annual one-off headliners. My theory was that the energy would match up to the show this spring simply down to the hometown-ness of it all…and I was so right. Ultra Q had been my little secret for some time after they spent a brief stint signed to DCD2 Records, which I followed closely as a fan of Pete Wentz, the label’s founder. After the release of their two LPs, their fanbase grew significantly. There had been several shows where it was mostly me and a few familiar faces in the crowd, but I believe those days are long gone. The band has earned this place in the scene, touring like maniacs globally with like-minded groups, strategically reaching out to other corners of their genre. The past two times I’ve seen them play at this venue, I’ve admittedly been caught marveling at the audience's participation around me, which directly translated into the band’s performance. They’ve always been “good,” but I believe this solidified support is what they needed to become “great.” Also, “I Luv Robert Smith” lived to see another day despite the setlist slot saying “Pupkin,” I’d like to believe they did that for me. And also, I knew them before the rest of you did.

Finally, The Red Pears was my most surprising set of the evening, in the best way possible. After this performance, I left this venue entirely as a real fan of The Red Pears. Live music is essential; you never know who might need a song to describe their feelings. This phenomenon encapsulated The Red Pears’ set, as fans were fully crying during specific moments throughout the hour they were on stage. Though relatively short, this headlining slot was profoundly moving for most of the audience. It felt as though many had been waiting for this, hoping to scream along to music that meant a lot to them. As a result, I found myself grooving along to the music far more significantly than I had anticipated as a casual listener. The points of their discography that I hadn’t reached in my listening sessions were much heavier than expected, a pleasant surprise as a fan of indie punk that emphasizes the punk elements. Their instrumental alone was intriguing due to their creative composition; however, the emotive expression of their lyricism really got me. Everyone on stage felt what was being sung, regardless of who wrote the lyrics. This is an exciting feat, as sometimes instrumentalists only really feel the part they’re playing. The Red Pears, though, represent a whole sum of moving parts. Their chemistry outshines any potential cliches they may face otherwise within their niche. It makes sense that fans (gender and age be damned) were left sobbing at their favorite songs, a euphoric high being felt across the packed room.

It’s always a pleasure to be packed like sardines at Gilman. I love this venue dearly; the fond memories I’ve accumulated here since the end of 2019 are enough to last a lifetime. I’m so glad that this venue change happened, as it certainly added depth to the evening, though it wouldn’t be the first time I closed out my year here with acts on this lineup. It is a true marvel to watch artists grow over time, slowly phasing out of being my little secret—though it is well deserved overall. I did admittedly come to this show to see The Red Pears for the first time, but it always feels like returning home coming back to Gilman. There is something so nostalgic and quintessentially Bay Area about this place. I broke my rule after an invitation from The Red Pears brought me here, but typically, I try to buy my ticket to show here, no matter who is playing, to keep this place open. My hometown (close enough) hosts so much rich history within the arts, and it is a privilege to be a part of this generation of it. Overall, these three acts are representative of indie-punks best qualities, and I highly recommend checking them all out when they hit your town, though this specific tour is over.