Pixies to perform with Momma and Kurt Vile at MGM Music Hall in Boston on July 18-19, 2025.
Frank Black has had a dynamic year filled with musical endeavors. After starting the year by uniting with his studio collaborators who played a role in crafting his second album, Teenager Of The Year, Pixies are currently engaged in a two-date series in various North American cities following extensive touring across Europe last year. Since reforming in 2004, the band has proven to be a steadfast presence on the road, with these recent shows marking the fifth occasion I’ve had the delight of witnessing their performance since 2023.
On this tour, Pixies embarked on a deliberate strategy. They delved into the less-explored depths of their earlier discography on the first night, reserving the second night for a selection of what they deemed as ‘classics’. While tracks from albums like Surfer Rosa, Come On Pilgrim, and Doolittle have received ample airtime over the years, the band aimed to highlight the significance of Bossanova and Trompe Le Monde, albums that propelled them to new heights during the era Black referred to as “College Rock.” Venturing into old and seldom-played material can be risky, especially in a venue with a 5,000 capacity, yet Pixies executed the plan with the finesse and confidence of a skilled magician.
Performing an entire album live often leads to songs making their debut on stage. Surprisingly, out of the 29 songs from these two albums, only “Space (I Believe In)” had never been performed live before, based on information from setlist.fm. The space motif, a recurring theme in Black’s lyrics, sparked curiosity about the potential collaboration between Pixies and filmmaker David Lynch. The band paid tribute to Lynch by performing “In Heaven (Lady In The Radiator Song)” on both nights, a poignant choice featuring Emma Richardson’s ethereal vocals. While some songs like the Doolittle b-side “Into The White” may have struggled to escape the shadow of Kim Deal’s vocals, the overall performance was commendable.
The stage setup on the first night was minimalist yet clever, integrating rotating globes inspired by the Bossanova album cover that transformed into the eyeballs from Trompe Le Monde. Engaging minimally with the audience, aside from Black’s brief radio banter, Pixies maintained focus on delivering a memorable performance. The second night encountered a slight lull, exacerbated by the inclusion of new material from their recent album. Despite this, crowd enthusiasm waned momentarily before tracks like “Primrose” and “The Vegas Suite” reclaimed the initial magic. An unexpected twist with David Bowie’s cover of “Cactus” injected fresh energy into the performance as Pixies concluded with a strong setlist, capturing the essence of their musical evolution.
Kurt Vile and The Violators embarked on the tour as support from the beginning, with Momma making an unexpected appearance as the opener in Boston. Momma’s energetic performance drew influences from the guitar-heavy alt-rock of the ’90s, creating a nostalgic yet modern sound that resonated with the audience. The pairing of Momma and Kurt Vile proved to be a complementary blend of styles, bridging generations with shared musical influences.
Kurt Vile’s signature sound remained consistent, showcasing his relaxed vocals intertwined with mid-tempo guitar melodies. With the recent addition of a keyboardist and Adam Langellotti replacing the late Rob Laasko, Vile expanded his band to a five-piece ensemble. Despite the brevity of his set, Vile showcased a diverse selection of guitars, including an orange hollow body Gretsch previously owned by the late Dallas Good of The Sadies. A revamped intro to the song “Wakin’ On A Pretty Day” hinted at Vile’s ongoing musical evolution, with Trbovich teasing a new album on the horizon for early next year.