The Pixies headlined this stop of their North American Tour 2025, and the night belonged to a band still carrying the weight of decades of influence. Formed in Boston in 1986, their nine-album discography is the stuff of alternative rock curriculum: Surfer Rosa (1988), Doolittle (1989), Bossanova (1990), Trompe le Monde (1991), and the reunion-era records that pushed them back into relevance—Indie Cindy (2014), Head Carrier (2016), Beneath the Eyrie (2019), Doggerel (2022), and their most recent release, The Night the Zombies Came (2024) on BMG. Frank Black, Joey Santiago, David Lovering, and bassist Emma Richardson tore through a set that spanned early cult favorites and fresh tracks, with the crowd erupting on every familiar chord change. Their influence is immeasurable, and their critical standing is untouchable. The merchandise tables reflected both legacy and present—reissues, box sets, and plenty of gear branded with the new record’s iconography. More info at pixiesmusic.com.

Pixies

Spoon brought their lean, sharp sound as direct support, and for many in attendance it felt like a co-headline. From Telephono (1996) to Lucifer on the Sofa (2022), the Austin outfit has managed to stay vital with a discography that’s both restless and consistent. Their 2022 album was Grammy-nominated for Best Rock Album, and just last month they dropped a new two-song single “Chateau Blues” / “Guess I’m Fallin In Love,” setting the stage for their forthcoming 11th record. At Red Hat, Britt Daniel’s voice cut through with the kind of conviction that only comes from decades of touring, and Jim Eno’s drumming kept everything glued together. The audience gave them the kind of reception that proves their songs have bled into the cultural bloodstream, with older cuts like “The Underdog” landing as hard as the new material. Their merch leaned heavily on vinyl and shirts designed around the new singles. Find them at spoontheband.com.

Spoon

Fazerdaze opened the night, a striking addition to the bill that underscored the Pixies’ knack for pulling in acts with both indie cred and future promise. Amelia Murray’s New Zealand project has moved from bedroom pop beginnings into a fully fleshed-out live band, and her 2024 album Soft Power has been hailed as a breakthrough, taking Album of the Year at the Aotearoa Music Awards. Her earlier releases—Morningside (2017) on Flying Nun and the Break! EP (2022)—were also represented in the setlist, which leaned into the dreamier edges of her catalog while showing the muscle of the newer songs. The crowd listened intently, then rewarded her with the kind of applause that says they knew they were catching an artist on the rise. Fazerdaze’s merch table offered vinyl copies of Soft Power, shirts with minimalist designs, and posters that looked destined for dorm room walls. Full details are at fazerdaze.com.

Fazerdayze