Review: Pom Pom Squad @ The Sinclair 2/27

Review by Catherine Trabazo

Photo credits: Bao Ngo

Trading in pleated skirts for lace, corsets, and even angel wings, Pom Pom Squad’s new album dives deeper into frontwoman Mia Berrin’s experience of attention and the dissection of her public persona after the vulnerability of a debut album release. “Mirror Starts Moving Without Me” is a dynamic mix of gentle lullaby-like melodies and explosive, heavy guitars, perfectly reflecting the tension between vulnerability, growing pains, and the power of asserting one’s identity in the spotlight. The album’s emotional depth, paired with its sonic experimentation, positions Pom Pom Squad as a band unafraid to evolve, even as they stay true to their roots.

On Feb. 27, Pom Pom Squad brought the energy of their new album to The Sinclair. The venue, smaller and more intimate than expected, became the perfect setting for a performance that was equal parts raw and theatrical. The show opened with “Downhill,” the somber and atmospheric track from the new album. Berrin, with silver pom poms glued on her knee-high white boots, sang about “coming back from the dead.” Her strong, confident presence captured both the playful and serious tones of the night, addressing a crowd of high ponytails, jerseys, and even old high school cheer uniforms.

The setlist balanced old and new material. While Berrin maintained her persona, she didn’t shy away from showcasing her band. With pom poms in hand, she pointed to the band members, gesturing to them with pride. 

Berrin introduced a cover of “Crimson and Clover,” dedicating it to “girls who like girls.” In this moment, she defied expectations, using the classic song to express an inclusive, affirming message. The band’s take on the 60s classic added a dreamy, nostalgic twist while still maintaining the spirit of Pom Pom Squad’s signature sound. It was a moment of inclusivity that resonated with many fans. 

After a few sentimental tunes, the band’s playful side began to emerge during the set. Berrin claimed they were going to do something “a little silly and goofy.” The mood quickly shifted as the heavy guitars of “Black Sheep” began to play through the venue. Originally by Metric and made famous by “Scott Pilgrim vs. the World,” the band danced around with the crowd to the cover, then transitioned to their seemingly inspired single “Street Fighter.” Berrin grabbed her pom poms once more and spelled out “M-E-S-S-Y” as she taunted her metaphorical opponents. The crowd followed her lead, cheering and singing along.

As the night progressed, the mood took a more introspective turn. Berrin told the audience the band would “switch up the vibes” and play some sad songs. The stripped-down performance of “Everybody’s Moving On” was a raw, emotional experience, with Berrin’s voice soaring over a sparse instrumental arrangement. She expressed deep emotional truths through her music, especially when asking the universe “was I chosen, did I choose?” After, Berrin hopped on the drums to perform “Montauk.” Under a solitary spotlight, she sang about feeling out of place in the luxury of the Hamptons, yearning for a sense of belonging, a common theme in her discography.

As the show neared its end, Berrin expressed her gratitude to the audience, acknowledging that it was only their second night on tour and that the show was a “dream come true.” The pink lights returned as Berrin, now a silhouette in front of the glowing backdrop, began strumming the opening chords of “Second That.” The live version of the track felt more expansive and layered than the recorded version, with the addition of live drums and guitars giving it new depth.

The band moved into “The Tower,” the closing song from their recent album. A voice echoed about the meaning of the card: “It’s unsettling because it shows that no matter the plans for ourselves, a divine act can completely uproot everything.” Berrin finds herself crumbling down in her metaphorical tower, holding a handheld mirror as she sings with both desperation and resignation, describing her wonderland “turned into hell.” The song’s explosive energy, paired with Berrin’s raw emotion, brought the show to an intense, emotional close. Berrin ran to the back of the stage to grab roses, tossing them into the crowd as a final gesture of gratitude.

After the show, Berrin and the band surprised their fans by sticking around for an impromptu meet-and-greet. For over an hour, they interacted with every single fan in line, creating a personal connection that made the night feel even more special. As a long-time fan, I couldn’t help but feel a deep sense of respect for Pom Pom Squad’s evolution. In a pop landscape just beginning to re-embrace campy performances, Pom Pom Squad manages to blend emotional depth, theatricality, and self-expression into a truly unique and engaging experience. Pom Pom Squad stands at the crossroads of pop-punk vulnerability and unapologetic theatricality. I walked out with a signed cassette and a renewed passion for their evolving sound.