Kim Gordon and her band came on stage with little fanfare but with the expected effortless cool and poise. Everyone in the band contributed to the rich electronic soundscapes that ran throughout the show and everyone played a more standard rock instrument as well with a drummer (Madi Voigt), a bassist (Emily Retsas) and guitar duties with Gordon and Sarah Register. Immediately it felt like we were hearing something born out of the various interests and creative leanings across Gordon’s career as an artist and pushing past immediate expectations of some kind of No Wave noise rock. It was more like a thorough fusion of various styles of hip-hop, industrial aesthetics and stretching notions of what role guitar plays in songwriting. Like real time sampling in moments with rock instruments dropped into a track. The percussion was a combination of programming/sequencing and live drums played with an ear for the various beat styles that have emerged in the past two or three decades: trap, Dilla-isms, drill. The effect was cinematic and emotionally-charged with Gordon’s nearly spoken word vocals accenting the rhythm with her own lines of spare poetry as though she was replicating a production method with own performance.
The band played all of the new record, Play Me (2026) seemingly in order as well as a few songs from The Collective (2024) and No Home Record (2019). But it all felt like a vivid yet hazy dream with Gordon singing songs that felt like they were a commentary on the current era and zeitgeist in a way that was creative like stream-of-consciousness poetry or free verse and free association on a theme. The social commentary was pointed and cathartic with the production lending the music a textural and cinematic quality so the experiencing of witnessing it live had a tactile aspect that was riveting and seemingly personal because Gordon’s words framed the ideas of tech oligarch and the dream of a world after the fall of the imperial program that has been burning through the world with an accelerated spirit of consuming destruction an attainable goal. The caustic menace of “Sub Con” and “Square Jaw” got into your head like hope through validating one’s anger and desire for liberation from the various tools of late capitalist repression. Both songs and “Post Empire” were a string of songs that seemed to draw heavily on hip-hop production and sounds of the past decade and a half but with a little different sound palette and informed by Gordon’s insight into the ills of the horrific aspects of current human civilization.
Hard to imagine Gordon isn’t affected deeply by this music and the words performing them on a tour and yet it has to feel good to get these thoughts and feelings out there and sharing them with people who may not be as focused in their expression when everything can feel overwhelming and you just have to show up to your job or jobs just to survive. But the show did feel like an expression of human solidarity for the collective, ambient anxiety and horror of what feels like the worst timeline of recent years. With the update of “Bye Bye” as “ByeBye25” as a kind of exclamation point on the album it was obvious that Gordon’s new album showcased her masterful wordplay perhaps influenced by the hip-hop artists that have inspired her for decades. Beginning to end the songs sounded like the chaos, fragmentation and collapse of the American experiment but also like a hope for something better to replace the old world order. It made this era feel survivable.
Setlist from JamBase.com
PLAY ME
GIRL WITH A LOOK
NO HANDS
BLACK OUT
DIRTY TECH
NOT TODAY
BUSY BEE
SQUARE JAW
SUBCON
POST EMPIRE
NAIL BITER
BYE BYE
Trophies
It’s Dark Inside
Psychedelic Orgasm
Paprika Pony
Cookie Butter
Encore
Cigarette
Queen City Sounds and Art 
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