Live Review: Baroness + Soul Glo + Spotlights @ Roxian Theater, Pittsburgh

Baroness
Special Guests: Soul Glo + Spotlights
Venue: Roxian Theater Pittsburgh, Pennsylvania.
Date: 25th November 2023
Review By: Hillary Wisniewski

The Roxian Theater is a beautifully restored building in which a great deal of thought, care, and respect for history was taken into consideration when it was renovated and opened again for shows in 2019. Having only been there previously to see a comedian, I wasn’t sure how it would fare in terms of a good venue for live music. It was not a disappointing setting and allowed for the audience on the ground level to have more close and intimate interactions with all of the artists. Enough about the venue-on to the show!

Spotlights

First up was Ipecac Records post-metal darlings, Spotlights. Formed in 2013 in Brooklyn, this trio is composed of Mario Quintero (guitars, vox, programming, synthesizer, drums), Sarah Quintero (bass, vox, guitars), and Chris Enriquez (drums). The set was short, but they made the most of their time. Pushing massive sound, there was generally a sense of disjointed emotion fluctuating between oppressive, sludge laden heaviness and airy elements. The members were almost like an extension of their instruments; they were people possessed and entranced with the process. A guest played saxophone with several tracks; unlike some acts that throw a brass instrument without really intentional thought, Spotlights ensured everything fit together seamlessly. They ended with a general free for all which had the audience wanting to hear more, and I was sorry they weren’t playing longer; definitely a band to check out live if you get the chance (4 / 5)

Soul Glo

Philadelphia’s Soul Glo was the middle child of the show; I have always thought this would be a tough slot to fill in general depending on how the opening act goes. The bar was set high and Soul Glo wasn’t afraid to up the ante. These gents have been bringing their high energy hardcore punk sound to listeners since 2014. The main members are GG Guerra (guitar, programming), Pierce Jordan (vox, programming), and TJ Stevenson (drums). Accompanying on bass for live shows is either Rob Blackwell or Leon Da Boss. The vocals stole the show; Jordan goes from rapid fire hardcore punk delivery to what was bordering on the shrieks one might expect in a black metal project. From this he seamlessly transitions into delivering lines in an old school hip hop style reminiscent of Chuck D of Public Enemy. His energy as a frontman cannot be matched by many; at times his mannerisms reminded me of Jello Biafra. Musically this was intense and, ultimately, loud and distorted to the point in which so much of the nuance was drowned out. I believe how the sound was run really detracted from the overall experience, but I also think that Soul Glo brought an energy that differed greatly from the other acts. It threw things off a bit for me in terms of the overall flow of the show; however, my rating is based on their performance as opposed to my preference (4 / 5)

Baroness

The mighty Baroness has been gifting us with their sound for 20 years (my apologies to anyone who immediately felt their age seeing that number. This also reminded me to call and get that yearly mammogram scheduled). The audience was quite ready; it had been 4 years since they performed in the Pittsburgh area. I may be biased, but folks in the Steel City metal scene always make for some great crowd dynamics, and this show was no different. I personally find the current line-up to be the best in terms of musicianship and general cohesiveness of performance and sound. Some may not be in agreement, which is fine, but there is no denying Baroness put on a hell of a show. The set spanned their various works, which meant there was a little something for everyone.

Opening the set was Last Word, which quickly engaged the audience and pulled them in for the experience. The energy was good and only got better when they launched into playing Isak. The old heads, myself included, were of course pleased as punch to hear this beast of a song, and this joy continued with The Sweetest Curse and A Horse Called Golgotha. Now, this is where perhaps some people finished up their listening of Baroness. Yes, their latter albums were not like the early work; however, hearing the evolution of their sound and their growth is something I have really come to appreciate and even more so after watching them work through their discography in a very strategic way (please see below for full set list).

John Baizley (guitar, vox) and Gina Gleason (guitar, vox) are masters of their craft; their hands moved across the fretboard with the grace and power of a well-rehearsed ballet dancer. It truly looked effortless, but clearly this is the result of years of honing in their craft. Nick Jost (bass) and Sebastian Thomson (drums) are a skilled rhythm section that were in sync with one another, and they matched the intensity of the guitars. Everything about this performance was flawless. It was high energy, but not flashy, and the band seemed to be genuinely having a great time playing. There certainly were tracks I wanted to hear, and it just didn’t happen, but I do believe Baroness put thought into what they felt would flow well and please the crowd (5 / 5)