Periphery x Ne Obliviscaris X Greyhaven X Ando San
11.2.26
Ando San
Ando San’s unique blend of thumping guitar playing, lo-fi, progressive metal composition and rapping was a surprise, to be sure, but a welcome one. Imagine if Animals as Leaders had MF Doom as their vocalist - that’s the closest way I can explain the vibe Ando San brings to the table. (Their artist page on Tidal describes their sound as “Prog-Hop”. I can’t think of a more apt title.)
While prog-hop was not what I expected to hear when I walked into the Fillmore, their energy and enthusiasm were infectious, and they fit right in with the broad range of musical influences present throughout the night.
Greyhaven
Greyhaven brought the sort of raw, unfiltered, real energy that comes with being one of the standout bands in the post-hardcore scene. Part of that real energy came from their use of physical cabs and amps, foregoing the technological consistency offered by digital amp modelers and leaning into the unpredictable imperfections as part of the artistic expression. (No hate on amp modelers – my band uses them, too. Please don't @ me).
A spiritual successor to Dillinger Escape Plan, Greyhaven demonstrated that musical technicality and moving around on stage aren’t mutually exclusive. The band's erratic movements on stage matched the energy of the songs, which also proved that the guitars don’t have to be endlessly down-tuned to be heavy. (Also, no hate on down-tuned guitars – my band uses those, too. Please don’t @ me).
Greyhaven is one of my favorite bands, and they were another fantastic addition to the eclectic lineup of the night.
Ne Obliviscaris
Pivoting genres yet again, Ne Obliviscaris introduced their amalgam of progressive, technical, and symphonic death metal to the night with enchanting clean vocals, devastating screams, soulful violin, and shredding guitars and bass. With their technical prowess on full display, Ne Obliviscaris made it clear why they’re one of the best death metal bands of the last 20 years.
The songs at times were like a film score to an epic on-screen battle, with dueling guitar and violin solos adding dramatic flair to the arpeggiated guitar riffs and blasting drums. The dual vocalists (one clean, one harsh) added to the fascinating dynamic of sounds present throughout the set. I left the Fillmore with a renewed appreciation for Ne Obliviscaris.
Periphery
Despite their refusal to adopt the moniker, djent giants Periphery are some of the best in the biz.
Their latest album, A Pale White Dot, eschews some of their maximalist tendencies in favor of a more cohesive non-narrative concept album that explores themes of loneliness and isolation. While Pale White Dot may not be as persistently balls-to-the-wall chaotic as some of their earlier releases (looking at you, Periphery V), it still features some of the heaviest songs you can bang your head to. (The mosh pit during “Mr. God” was one of the biggest I’ve seen).
Their heaviness is equally matched by their exceptional technicality. I’ve always joked that Periphery is one of the few bands where the lead singer is arguably the least famous member. Vocalist Spencer Sotelo is a damn amazing singer, which just means that drummer Matt Halpern, guitarists Misha Mansoor, Mark Holcomb, Jake Bowen, and non-touring bassist, Adam “Nolly” Getgood, are also just that damn good. (The laptop playing the backing tracks did a pretty good job keeping up with Nolly’s parts). Their live performance is just as tight and precise as it is on the album, and every bit as intense.
The members of Periphery leverage their virtuosity to create some of the most genre-bending music in the progressive metal scene, incorporating alternate tunings, clean leads and electronic elements interspersed between the brutal breakdowns and crushing riffs. While the whiplash from jumping between so many musical influences can be disorienting, those of us who love it really love it.
Periphery’s set did a great job balancing their heavier esoteric songs with those that the audience could sing along to. Emotional, anthemic choruses in songs like “Heaven on High” and “It’s Only Smiles” invited the audience to participate, making the night a shared experience between the fans and the band, even if we can’t rip an insane guitar solo or keep a steady polyrhythmic drum groove.
Seeing Periphery on this tour was a bit of a redemption arc for me. I was supposed to see them circa 2017, but a misread date caused me to arrive at the venue a whole 24 hours late (womp womp). While I was able to see them open for Dance Gavin Dance, Periphery is a band that demands to be seen as a headliner.
Every Periphery experience is unique, whether it’s a live show or an album. I look forward to seeing what they do next.
