Concert Review: Silversun Pickups and Giant Waste of Man at XL Live in Harrisburg, PA

Giant Waste of Man

In an era where we pay monthly subscriptions to have the same bands and songs fed to us on repeat, true musical discovery feels like a lost art. Even streaming algorithms, designed for "discovery," often feel catered and repetitive, making it increasingly difficult to find new sounds from smaller, independent acts. One of my favorite aspects of the live music experience is the chance to discover the openers. It’s an opportunity to find new sounds and witness performances from musicians who are brand new to me. A raw appreciation of both the music and the stagecraft.

On Cinco de Mayo, I had the privilege of photographing one of my favorites since high school, Silversun Pickups, at XL Live in Harrisburg, PA. While the crowd was still filling in, a band took the stage and immediately stole my ear, playing with the intensity and presence of a headliner. That band was Giant Waste of Man, a group that delivers a nostalgic and experimental sound that transports you back to the height of indie rock. 

The lineup, consisting of Cam Dmytryk (vocals/guitar/sax), Benji Heywood (vocals/guitar), Heather Heywood (vocals/bass), Brandon Hardy (drums), and Scott Mercado (keyboards), carries a style with a wonderful nostalgia, leaning into an experimental edge reminiscent of Sonic Youth. While they maintain that indie sensibility, tracks like "Gaeta" reveal a much grungier, more dramatic tone that adds a compelling layer to their discography and makes their live experience a pure spectacle.

It is clear on stage that the group genuinely enjoys the performance and meshes perfectly with one another. A personal highlight was watching Benji Heywood on guitar; his energy while twisting and jamming through sets is infectious. They don't just play their instruments; they live the songs. If you are lucky enough to have tickets for the current Silversun Pickups tour, do yourself a favor, get there early. You do not want to miss Giant Waste of Man. If you can’t make it to a show, go support them by listening to their new album, Fighting with Time. You might just find your new favorite band the old-fashioned way.

Silversun Pickups

There is a specific magic to the "Golden Age" of indie rock. It was the era of transitioning from the aisles of Sam Goody and FYE to the sleek, revolutionary click wheel of the iPod. Amidst a digital library filled with the likes of The White Stripes, The Killers, and The Strokes, Silversun Pickups carved out a permanent home in my rotation. I vividly remember "Lazy Eye" playing on a loop, a hazy anthem for a generation that I would play until the battery died. Twenty years later, I found myself in a position that high school me would never have imagined, standing at the edge of the stage, camera in hand, ready to capture the very band that defined my youth.

Let me tell you, they have not lost a single step. From the moment they walked on stage at XL Live in Harrisburg, PA, it was evident that Silversun Pickups remain masters of their craft, playing with a level of precision and raw excitement that many younger acts struggle to emulate. They opened the night with "New Wave," the lead track from their newly released album, Tenterhooks. It was the perfect tone setter, utilizing a hazy, atmospheric sound that built tension before exploding into a signature guitar riff. After a relentless ten-minute crowd chant they came back out to give us and encore with a few more songs and brought it all home with "Lazy Eye," closing a circle two decades in the making.

While I had only dipped my toes into the new record before the show, the live performance was a revelation. Several tracks stood out as instant highlights, such as "The Wreckage," which featured an upbeat tempo driven by a mesmerizing, infectious chorus. Another standout was "Witness Mark," a slower, melodic, and almost eerie piece. The lyrics “It’s a shame, it’s a shame, shame, shame…” became a welcome earworm that I found myself humming long after the lights went down. After giving the full album a proper listen post show, it is clear that Tenterhooks is a solid entry into their discography, keeping their signature sound while staying dynamic and bringing something new to each track.

The chemistry on stage was electric. Christopher Guanlao was an absolute blast to watch on the drums, his hair flying all over the place as he jammed with incredible intensity. Nikki Monninger set the tone with her iconic red bass guitar, jumping up and down in her heels, completely engrossed in the music. Joe Lester was masterful at the keys, providing the essential textures that make their sound so expansive, while Brian Aubert drew the crowd in with his unmistakable vocals.

During the show, they shared a message that resonated deeply. That even though the world is going through so many crises that Billy Joel would have to write a sequel to “We Didn’t Start the Fire,” it is vital to take time to enjoy music and art. They reminded us that art heals, and that was a message I truly needed to hear. The show was nothing short of amazing. It brought high school me back out to dance and groove, proving that some things only get better with time.