REVIEW: Jane Remover @ Paradise Rock Club 9/21

Photo Credit: Ismael Quintanilla III

Review by Brianna Benitez

An hour after the doors opened to Boston’s Paradise Rock Club on Monday, Sept. 21, the venue line hardly seemed to have moved. Directly overhead the growing line of anxious concert-goers, huge block letters announced Jane Remover’s impending arrival. Marking Remover’s second sold-out Boston performance for her current tour, or “Live Exhibit,” fans snaked past Commonwealth Avenue’s Raising Cane’s and around the corner as eager adolescents awaited the show.

Over the past year, Remover has fine-tuned her transformative ability to shapeshift any space into a never-ending portal of noise and moshing bodies. From touring internationally to now landing in Boston, where she has slowly built her reputation amongst the local crowd since last performing with Turnstile, Mannequin Pussy and Speed at Suffolk Downs in the latter half of 2025 and earlier that same year at Cambridge’s Sinclair, Remover knows how to find her way into the heart of anyone willing to listen. Lust, yearning for a lover, drowning in juvenility — the musician dissects it all while the nostalgic virtual element to her music remains. Formerly under the alias Dltzk, Remover’s beginnings in digicore and hyperpop continue to influence her current work, which is how she originally established herself, tracing back to the pandemic’s booming SoundCloud rap era.

Remover’s musical chapters unsurprisingly fail to go unforgotten time after time. When she last performed at the Sinclair last year, whispers of “are we getting any ‘Census Designated’ tonight” were heard throughout the show. To our dismay, she only stuck to her then-recent project, “Revengeseekerz,” for the entirety of the show, but her performance didn’t disappoint. If listened back-to-back, “Census Designated” and “Revengeseekerz” would lead one to imagine they were produced by two separate artists with their vastly distinct tones. Once longing for acceptance of a lover, this project unleashed the artist who would go on to break all barriers with her explosive Jersey beats, glass shatters, and the sample of a fan screaming Remover’s name at a concert. However, a true artist never forgets where they started. Time after time, Remover’s recent productions consist of samples from her very own “Census Designated” and “Frailty.” Synths and guitar from the early projects infiltrate the foundation of the newer projects, scratching an itch for long-time listeners.

Remover’s frequent collaborator on tour, Dazegxd, set the mood for the evening as he played a DJ set similar to that of his previous set when opening for her in Boston last year. He explored samples of nostalgic pop hits like “Satisfaction” and “Complicated,” allowing security guards permission to bob their heads as they peeked into the crowd to ensure safe concert etiquette. Rays of ROYGBIV soaked onto people’s faces as the producer got bodies shaking up the venue. 

As a fan of classic electronic musicians myself, I found myself comparing Dazegxd’s snares to Aphex Twin’s “C**k/ver10” from his 2001 project, “Drukqs,” with the sharp and intense pacing of his beats. As promised on Remover’s Instagram story, at exactly 8:45 p.m., Dazegxd riled up the crowd at the simple mention of her name, and onto the stage came the star.

Wasting no time and starting strong with “TWICE REMOVED,” Remover walked across the stage and then went into performing various tracks off of “Revengeseekerz,” intermittently teasing the crowd with “Census Designated” instrumentals for no more than 20 seconds in between songs. Before diving deeper into her discography, she performed then-unreleased “Beauty Sleep,” and the audience was more excited than ever for the sneak peek at the track she’d go on to release two days after her final “live exhibit” in Boston. Wearing a Miley Cyrus tank paired with spiked black pants and boots, Remover’s fashion and vivid red hair shone brightly on the platform.

Remover’s active side project and alias, venturing, was something the audience was eager to hear live in spite of her previous shows full of “Revengeseekerz.” Her only album under the alias, “Ghostholding,” is a complete 180 from the Remover most know. Relentless heartache is a familiar feeling in “Ghostholding” and unheard of in “Revengeseekerz,” but her smooth vocals seep into all of her work, and people craved it. She would go on to perform venturing tracks such as “Believe,” “Drunk lullaby,” and “In the dark,” bringing people into a sway and, at one point, pulling out their phones and raising them into the air with flashlights beaming onto the stage.

Similar to the feeling one gets from going to church on Sunday, Remover cleared the personal hurricane I was facing with her presence. All I needed was a Jane Remover show to lull me into restoration after a week of sleepless nights. Even with every endeavor Remover takes on — let that be another “Live Exhibit,” project, or brand new era — her fans will stick through it all just to, as she says it best in “Music Baby,” dance all night.