Mercury Music Lounge

Cleveland, OH

by Andrew Latshaw

The walls of Mercury Music Lounge barely seemed capable of containing the chaos brewing inside Monday night as Lords of Acid rolled into Cleveland with a lineup that transformed the venue into a collision of industrial pulse, underground club energy, darkwave atmosphere, and unapologetic sensory overload.

Long before the headliners ever stepped onstage, the room already carried the feeling of something unstable waiting to erupt. Leather jackets, fishnets, platform boots, patched battle vests, neon hair, and black eyeliner filled Mercury Music Lounge as fans from multiple generations gathered together under dim purple lighting and flickering LEDs. Some came carrying decades of history with the music. Others appeared to be discovering it in real time. Regardless of age or background, everyone inside the venue seemed united by the same anticipation for the beautiful chaos ahead.

The night’s supporting lineup played a massive role in shaping that atmosphere, with each performance gradually escalating the energy deeper into the strange, hypnotic world the evening would ultimately become.

Opening the night, MZ Neon established the electronic heartbeat of the evening immediately. Their synth-heavy sound and club-inspired rhythms slowly pulled the crowd into motion while waves of colored lighting washed across the venue. It felt less like a traditional opening set and more like the ignition sequence for the night’s descent into organized madness.

That momentum only intensified once Tony and the Kiki hit the stage. Their set injected the room with theatrical swagger, unpredictable energy, and an almost deliberately unhinged sense of fun that blurred the line between concert and performance art. By this point, the crowd had fully abandoned any sense of restraint, feeding directly off the chaotic energy radiating from the stage.

Then came Princess Superstar, whose performance transformed Mercury Music Lounge into something closer to a late-night underground dance club than a rock venue. Armed with charisma, humor, and infectious electronic grooves, Princess Superstar delivered one of the night’s most immediately engaging sets. The room erupted into movement as fans shouted lyrics back toward the stage while strobes and basslines rattled through the floorboards.

The atmosphere shifted once again with Dead on a Sunday, who brought a darker and far more atmospheric tone into the evening. Their brooding synth textures and emotionally charged darkwave sound wrapped around the venue like fog rolling through abandoned city streets. The performance served as the perfect transition point before the full-scale industrial storm that was about to follow.

By the time Lords of Acid finally emerged, Mercury Music Lounge had transformed completely. The crowd was no longer warming up. They were fully immersed.

The moment the lights dropped, the room detonated.

From the opening moments of the set, Lords of Acid commanded the venue with the confidence of a band fully aware of both their legacy and the kind of experience their audience came searching for. Their performance balanced sleaze, humor, aggression, electronic chaos, and pure theatrical excess without ever feeling forced or artificial. Nothing about the show felt sanitized for modern audiences. It felt loud, reckless, sweaty, and gloriously alive.

The sound inside Mercury hit with physical force. Every bassline rolled through the floorboards like machinery threatening to tear itself apart while the percussion slammed into the audience with mechanical precision. Lighting bathed the stage in violent reds, ultraviolet purples, and deep blues that made the room feel somewhere between industrial nightclub and dystopian fever dream.

What stood out most throughout the night was the crowd itself. Fans screamed lyrics back toward the stage with the kind of passion usually reserved for reunions or long-lost rituals. Near the barricade, bodies crashed together under waves of strobes while others danced wildly deeper in the venue, completely locked into the hypnotic energy radiating from the performance. Even those hanging near the back bar appeared unable to stand still for long.

There was an authenticity to the evening that felt increasingly rare in modern live music. Nothing about the show appeared polished into algorithm-friendly perfection. There were no carefully manufactured viral moments. No sterile sense of overproduction. Instead, the night embraced unpredictability, sexuality, absurdity, humor, and raw energy in a way that felt refreshingly human.

That authenticity is ultimately what made the entire experience resonate beyond simple nostalgia. While longtime fans clearly came to reconnect with a soundtrack tied to earlier eras of their lives, the reaction from younger attendees proved that Lords of Acid continues to pull new audiences into their orbit decades later. This did not feel like a legacy act replaying old material for fading memories. It felt like a living organism feeding directly off the crowd in real time.

By the end of the night, Mercury Music Lounge looked less like a concert venue and more like the aftermath of a beautifully controlled collapse. Sweaty, exhausted, deafened, and grinning, fans spilled out into the Cleveland night carrying the lingering adrenaline that only genuinely memorable live performances leave behind.

Some concerts entertain.

Lords of Acid created an environment. And for one chaotic night in Lakewood, everyone inside Mercury Music Lounge willingly disappeared into it.

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Cleveland’s House of Blues

Cleveland OH

July 01, 2025

By Rob McCune

“Don’t be alarmed by old men with synthesizers.”

That’s how Andy McCluskey, frontman of the legendary synth-pop pioneers Orchestral Manoeuvres in the Dark (OMD), greeted a sold-out crowd at Cleveland’s House of Blues. But if anyone in the room had doubts, they were vaporized within minutes of the band launching into their high-voltage, two-hour set.

OMD’s 2025 live show isn’t a nostalgia act—it’s a masterclass in how to evolve without losing your pulse. Touring in support of their critically acclaimed 2023 album Bauhaus Staircase, the British electronic icons delivered a performance that was equal parts kinetic, cinematic, and emotionally charged.

⚡ Synth-Pop Legends Still Bringing the Voltage

McCluskey, 65 and tireless, was a blur of motion—dancing, leaping, and commanding the stage like a man possessed by rhythm. His voice? Still sharp. His energy? Unrelenting. And the crowd? Completely under his spell.

The setlist was a sprawling journey through OMD’s 45-year discography—14 studio albums, 46 singles, and not a dull moment in sight. From the politically charged “Kleptocracy” to the haunting beauty of “Souvenir” (sung by co-founder and keyboardist Paul Humphreys), the band proved they’re not just surviving—they’re thriving.

Behind them, a massive LED screen pulsed with kaleidoscopic visuals—faces, colors, and abstract dreamscapes that turned the venue into a retro-futurist cathedral.

🧠 Smart Pop with a Pulse

OMD’s set was laced with cultural commentary and historical echoes. “Tesla Girls” (from 1984’s Junk Culture) nodded to the brilliance of Nikola Tesla—not the car, McCluskey clarified with a grin. “History of Modern Part I” and the anti-war anthem “Enola Gay” reminded the audience that OMD has always been more than synth hooks—they’re thinkers, too.

And yes, they played the hits. “If You Leave,” immortalized in John Hughes’ Pretty in Pink, had the crowd swaying in collective memory. The band closed with “Electricity,” their debut single from 1980, and a fitting finale for a night that buzzed with analog soul and digital fire.

💄 Walt Disco: Glam, Guts, and Glasgow Grit

Opening the night was Glasgow’s Walt Disco, making their Cleveland debut with a set that was part art-pop opera, part punk sermon. Frontman James Potter led the charge with theatrical flair, belting out anthems like “My Body Knows When to Run” and “Drag Queen”—songs that challenge conformity and celebrate queer identity with unapologetic glam.

Their performance was a perfect prelude to OMD’s genre-defying legacy: bold, inclusive, and impossible to ignore.

🎶 Final Verdict: OMD Still Rules the Synth Kingdom

This wasn’t just a concert—it was a celebration of resilience, reinvention, and the enduring power of electronic music. OMD’s Bauhaus Staircase tour is a reminder that the future belongs to those who keep moving, keep creating, and keep dancing in the dark.

Robert McCune is Every_Thing_After_Photo on Instagram, where he posts photos and reviews of concerts as well as the latest clips from the Every.Thing.After podcast, available on Apple Podcasts and Spotify.

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On June 7, 2025, Lords of Acid delivered an electrifying performance at Chicago’s Bottom Lounge, marking a significant chapter in their legacy. The show was part of their “Praise The Lords” tour, which introduced Carla Harvey, formerly of Butcher Babies, as the new lead vocalist. This addition brought a fresh dynamic to the band’s already high-energy electro-industrial sound.

The evening commenced with an intense set by Little Miss Nasty, known for their dark, seductive performance art. Their act combined elements of rock, metal, EDM, and dark hip-hop, featuring aerialists, contortionists, and elaborate visuals that set a provocative tone for the night.

Lords of Acid took the stage with a setlist that included their iconic tracks, such as “Pussy” and “I Sit on Acid.” The band’s performance was characterized by pulsating beats, vibrant visuals, and an engaging stage presence. Carla Harvey’s commanding vocals and dynamic stage presence were well-received by the audience, signaling a successful integration into the band’s lineup.

The Bottom Lounge, located at 1375 W. Lake St, provided an intimate setting for the event. The venue’s single-floor layout, with a bar at the back and side, created a close-knit atmosphere that enhanced the concert experience. While there is no seating available, the standing-room setup encouraged audience participation and energy.

Overall, the show was a testament to Lords of Acid’s enduring appeal and adaptability, successfully blending their classic sound with new elements to captivate both longtime fans and newcomers. Praise the Lords!

Lords of Acid – OFFICIAL WEBSITE
Little Miss Nasty – OFFICIAL WEBSITE
Chicago’s Bottom Lounge – OFFICIAL WEBSITE

In a world where electronic music reigns supreme, Slander emerged at Byline Bank (“Aragon”) Ballroom as maestros of the bass, orchestrating a sonic spectacle that transcended the boundaries of traditional EDM. The duo, consisting of Derek Andersen and Scott Land, delivered a performance on November 25th that was nothing short of a pulsating journey through the realms of euphoria and energy.

From the moment Slander took the stage, a wave of anticipation swept through the crowd. As the first bassline dropped, it was clear that this was not going to be an ordinary EDM experience. Slander’s command of the electronic landscape, combined with their penchant for genre-blurring experimentation, created an atmosphere that was both exhilarating and unpredictable.

The stage production was nothing short of mesmerizing, with a synchronized light show and visuals that heightened the sensory experience. The duo’s dynamic stage presence, coupled with the visual spectacle, created a synergy that elevated the performance to a multi-sensory extravaganza. It was not just a concert; it was a full-blown audio-visual journey.

What set this group apart is Slander’s ability to cater to a diverse audience. The duo seamlessly blended mainstream hits with underground gems, creating an inclusive atmosphere that resonated with both seasoned electronic music enthusiasts and casual concertgoers. This versatility showcased Slander’s understanding of their audience and their commitment to delivering an unforgettable experience for all.

In conclusion, Slander’s latest live performance in Chicago was a sonic odyssey—a journey through the vast and dynamic landscape of electronic music. Derek Andersen and Scott Land’s mastery of production, coupled with an unwavering connection to their audience, solidified Slander as architects of sonic euphoria.

Official Website: Slander