02.15.25 – Photos and Review by Dylan Long

The Fillmore Minneapolis was a full house on Saturday, February 15th, all for the New York native electronic rock duo Phantogram. This band is led by the creative forces Sarah Barthel and Josh Carter, whom both have an array of talents with their vocals, guitars, keyboards, and much more. Additionally, they bring along support drummer, Chris Carhart and synth wizard, Nicholas Shelestak. Their opening act was a California based, indie pop producer by the name of Meija, who also tours with a supportive drummer; a Minnesota native by the name of Daniel Karasev. 

Meija, led by Jamie Sierota, opened the night to a crowd that was already elbow to elbow, diving right into “Kid” from his 2019 EP, So Long Kid, a song about the innocence of youth and the desire to reconnect with their younger self. The stage lights bathed in deep blues and reds, leaving lots of room for shadows to lurk around the edges. Karasev’s strong drum performance paired well with his long blond hair bouncing in rhythm, while to his left, Sierota’s sophisticated guitar riffs matched his long dark sweater and fancy dress pants. Part way through the set Sierota held up a photo board that hosted their name with an animal on it and asked the crowd if they knew what it was. “Possum!” they shouted back, prompting the band to introduce the next song, “POSSUM,” from their most recent 2024 album, There’s Always Something, a track that suggests a desire to retreat and protect oneself from harsh realities. Sierota’s soft articulate voice carried the track, but it couldn’t have been done without a little help from the backing track feature vocals of Mark Oliver Everett from the notorious Los Angeles indie rock band, Eels. They eventually closed the night with their fan-favorite “Buttons,” singing about those small triggers that make you feel exposed or empowered in a relationship. The crowd cheered as Sierota began to play the melody and sang along, ending their set on a high note.

By 8:35 PM, the sold out crowd was rowdy and whistling in anticipation for Phantogram’s set. Suddenly, the lights went out and the fans erupted with cheers while each member took position on a transparent riser that was above the stage. The band was dressed in all black, with the addition of a bold fur coat worn by Barthel. Small moving lights below and beside them began to roll and flash singular colors like yellow and green, cutting through the darkness as Carhart began to bang on his drums and Shelestak used his synthesizer, starting off the night with a bang. They kicked off their set in full force with their song “Jealousy,” the introductory track to their new 2024 album, Memory Of A Day, detailing insecurity and possessiveness within relationships. Barthel’s ethereal vocals echo across the band’s electronic atmosphere. Their music is dark, haunting, and in your face. It is paired well with their dark stage presence, leaving more darkness than light. The lights below the riser illuminated the ground beneath their feet, rolling from left to right, first striking drummer Carhart on the left, highlighting lead singers Bethel and Carter at the center, and finally making its way to the right under synth programmer Shelestak. The band carried their heavy presence throughout the night making sure to touch their entire catalog. At one point they reached all the way back to their 2010 debut album, Eyelid Movies to play their hit song “Mouthful of Diamonds,” an old record about the tension between wanting to shine and the challenges that come with that pursuit. This performance was filled with dreamy synthesizers, punchy drum rhythms, intricate guitar melodies and emotionally weighing vocals. The crowd returned the energy with loud cheering, upbeat dancing, and reflective sing-alongs. As the night was coming to a close, they teased a closer with the song “Come Alive” and the lights went out with no good riddance. The crowd erupted with loud cheers anticipating a revival encore. 

A few minutes later the band entered the stage once again to perform their anthemic 2016 hit “You Don’t Get Me High Anymore” from their album, Three, a song about the fading intensity of a relationship with vocals that reinforce the sense of disillusionment and emotional drift. Paired with this track was “When I’m Small,” a track that discusses the desire to escape from overwhelming situations. Barthel’s performance was raw and emotionally vulnerable. This invited the audience to contemplate their own struggles while experiencing this song with such a bittersweet tone. The show ended with what felt like a cathartic release for the band, and the energy in the room felt at ease as everyone filed out of the venue, leaving the audience with something deeper to carry with them. In a way, it could suggest that it’s okay to feel small or uncertain, but that vulnerability is also part of what makes us human.