The Linda Lindas “Gotta Get Out” of Tour Midway in Brooklyn
If there had to be one word to define The Linda Lindas, it would undoubtedly be “electrifying.” The four-piece punk group is a one-of-a-kind gem that emerged relatively accidentally, and today, they’re touring as a headlining act for the second time. In honor of releasing their third studio album Gotta Get Out this year, The Linda Lindas embarked on a journey across North America, stopping at New York’s Brooklyn Steel on October 8, about halfway through the tour.
Before they appeared on stage, Um, Jennifer? and Deux Visages made sure to fire up the crowd with their sets.
There was never a predictable nor dull moment with Um, Jennifer? opening the night. Within the first few songs, vocalist Eli Scarpati launched over the barricade and into the crowd with his guitar still wired to the stage. It was invigorating for the fans who were already moshing to have him join in the circle pit. The self-styled slut rock duo also includes Fig Regan, who came dressed in red and black striped tights and a ruffled skirt with matching colors. This paired with their pointed hat with ear flaps completed the funky fit that amplified the angsty atmosphere.
Walking out from the backstage area were members of The Linda Lindas to wish Scarpati and bassist Jada Lucye the happiest of birthdays. It was a wholesome and humorous moment with both band members getting surprise wishes from the headliners, along with hugs, before continuing to perform their sickening songs. Scarpati and Regan established a pattern by often saying, “Our name is Um, Jennifer?. That is our name,” in the same hypnotic cadence each time throughout the set. With quirks like Scarpati standing on a drum while playing guitar, fans certainly had a blast experiencing the band’s eccentric show.
The start of Deux Visages’ set had lead vocalist Daphney Hanono’s hair tied up in a bun, a foreshadowing clue for how the band unleashed its power as the show progressed. On stage, the crowd saw five band members spread out from end to end—with Hanano caressing the microphone as she strolled across the platform to the beats of the drummer's hits. Somehow, Deux Visages captured the perfect balance between hard hitting rock sounds and a dreamy landscape that painted a beautiful picture for the audience’s eyes and ears.
Somewhere along the show, Hanono’s hair was fully out of the bun and flowing in the direction that her head moved; it was incredible to see that character peek through such a miniscule detail—it felt like the show opened up further as soon as that happened. Guitarist Jack Chiu and bassist Tony Jouvin intensely faced each other with grit as their hands strummed and picked the vibrating strings. It was a joy watching the drummer play with vigor and so visibly have a wonderful time feeling the music while moving it along.
After Deux Visages thanked The Linda Lindas for taking them along on tour, it was time for the band of the hour, who came onto stage with a bang. With a fitting opening tune of “Gotta Get Out,” The Linda Lindas wasted no time in lifting the energy levels from the already vivacious state of the room.
Eloise Wong on bass stood front and center of the stage, and her legs were constantly in motion, mostly as she kicked one leg out to the side as if it were throwing punches. As for the guitarists, Lucia de la Garza had no shortage of arm circles that kept the momentum going in each song, and Bela Salazar’s focus and full immersion in the music echoed throughout the crowd, even when she took on the synths. On drums, Mila de la Garza’s exquisite hits carried the punk rock beats from start to end. For this show, they were joined by Adan Diaz on guitar and synths.
A charming detail about this act is the distribution of voice—each member takes turns to lead the vocals, with some joining to create harmonies for certain numbers. This encouraged the focus to shift to different parts of the band without something too deliberate that would disrupt the flow of the show. The musical chemistry among the players is extremely important to be able to pull this off, and the four of them have enough to make it look effortless.
What makes this group stand out even further is their distribution of voice, in the metaphorical sense. Since the beginnings of their musical career, they’ve made it a point to stand up for issues that they ardently believe in and urge others to do the same. At Brooklyn Steel, they had tables and announcements for ways to support the National Immigration Law Center as well as encourage voters and future voters to participate in their civic duty.
Not only that, but between songs and while introducing tracks, the band would garner cheers from the audience as they shouted out their convictions loudly and proudly. Wong was forthright and pumping her fists with, “Don't ever let them tell you which bathroom you're allowed to use,” referring to trans rights that show up in everyday settings. She also described “Blood On Our Hands” as looking into where our money goes and where we actively choose not to spend it, referring to consumerism and how it’s connected to the gore we hear about in other countries.
Before the encore tracks began, Wong asserted, “It is so scary right now, but look around… we have each other. We gotta keep standing up for each other… for trans people, for people of color, for Immigrants, and against rapists. We will never give in. We will never bow down to the racist, sexist boys,” emphasizing the last three words as the title of their next song. The crowd responded to this explicit call-out with cheers and supportive hands in the air, and the rush of adrenaline could be felt throughout the room.
Without a doubt, it’s impressive to see The Linda Lindas doing so well on and off stage especially considering their ages, which range from 16 to 22 years old; one of their first public performances was about eight years ago. Their fierceness and political outrage are irreplaceable, and they unequivocally stand for human rights presented in various ways. What’s even more notable is the crowd that this show called upon; the front and center area against the barricade was full of young children singing along to the tracks throughout the night.
It gives a sense of hope about the approach of youth—The Linda Lindas—as well as young enthusiasts amidst uncertain times. Not to mention—it also emphasizes the need to recognize that a lot of art is political, even if it’s hidden in the raging punk beats; the genre itself arose as a movement of rebellion, and this Los Angeles-based artist is using the sound as a medium of expression for their advocacy.
It’s easy to see their influence and the culture they’ve fostered at shows like this one, with crowds shouting along in unison with them. It is, indeed, quite electrifying.
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