{"id":48774,"date":"2025-05-28T20:36:31","date_gmt":"2025-05-29T00:36:31","guid":{"rendered":"https:\/\/sites.bu.edu\/wtbu\/?p=48774"},"modified":"2025-05-29T13:34:42","modified_gmt":"2025-05-29T17:34:42","slug":"peter-bjorn-and-john-the-sinclair-5-22","status":"publish","type":"post","link":"https:\/\/sites.bu.edu\/wtbu\/2025\/05\/28\/peter-bjorn-and-john-the-sinclair-5-22\/","title":{"rendered":"Peter Bjorn and John @ The Sinclair 5\/22"},"content":{"rendered":"

Photography by Jack O’Sullivan<\/p>\n

Review by James Klein<\/p>\n

On a rainy night in Cambridge, Peter Bjorn and John returned to Massachusetts for the first time in six years, delivering a wholesome, nostalgia-filled, yet powerfully raw show. The Sinclair was filled with old and young hipsters eager to watch the Swedish band play their 2006 hit album \u201cWriter\u2019s Block\u201d in full. Playing the album in reverse, the band hit the audience with exhilarating, guitar-driven renditions of songs originally recorded as more laid-back lo-fi pop.<\/span><\/p>\n

\"\"<\/p>\n

Boston-based band Fai Laci opened with an energetic set filled with impressive guitar solos and expressive, sometimes aggressive, vocals from the lead singer Luke Faillaci. Luke delivered a high-energy set, encouraging the crowd to clap their hands and cracking quips between songs. His vibrant performance stood out on originals like \u201cFive\u201d and \u201cHave You Nothing Left to Say,\u201d amusing and charming takes on accessible rock structures. Their final song, \u201cHave You Nothing Left to Say,\u201d ended with flashing white lights and a jump kick from Luke, setting the tone for some of the more energetic highlights of the main performance.<\/span><\/p>\n

Peter Bjorn and John took the stage to an atmospheric recording of a guzheng cover of their hit \u201cYoung Folks,\u201d teasing the crowd with a song they knew would come later. The group stuck to the harsh white backlighting used by the opener throughout the performance, leading to some squints from the crowd, but otherwise intensifying the show\u2019s bright, driving aesthetic.<\/span><\/p>\n

\"\"The band began performing \u201cWriter\u2019s Block\u201d in reverse order with \u201cPoor Cow.\u201d John\u2019s vocals stood out as he sang and strummed his guitar in a solo, followed by John\u2019s thunderous drum hits and Bj\u00f6rn\u2019s bass lines, all coordinated with the flashing lights behind them for an exciting finish. Despite being only three musicians, Peter, Bj\u00f6rn, and John showed off their dynamic interdependence, each playing an essential role in each song.\u00a0<\/span><\/p>\n

\"\"<\/span><\/p>\n

After the first three songs, Peter introduced the band and the tour concept: playing through their 2006 album in reverse order. He expressed gratitude for returning to the United States for the first time this decade. He then launched into \u201cLet\u2019s Call It Off,\u201d elevating the relatively simple track with an epic guitar solo. It\u2019s safe to say this live version outshone hip-hop artist Drake\u2019s cover, which appears on his debut album.<\/span><\/p>\n

The next track, \u201cParis 2004,\u201d started with an atmospheric recording featuring the song\u2019s opening line, \u201cdimanche matin,\u201d in a soft-spoken French voiceover. Peter busted out his harmonica, adding a fun and folksy element to the song.\u00a0<\/span><\/p>\n

\"\"<\/p>\n

The most memorable part of the show came during \u201cUp Against The Wall.\u201d With Bj\u00f6rn and Peter stepping to the edge of the stage and pointing their guitars at the audience, it seemed they couldn\u2019t get any closer. Peter proved otherwise by jumping off the low stage into the crowd, repeating \u201cIt\u2019s almost that I wish\u201d as he made his way around the crowd with a tech holding up his wired microphone from the stage. The crowd clapped along as he moved through, shaking his tin can to the beat. He then jumped back onto the stage with a triumphant \u201cThat\u2019s right!\u201d before launching into an amazing guitar solo, ending the song with his guitar balanced on the back of his neck, proving he still has plenty of rock-star energy as he enters his 50s.<\/span><\/p>\n

Another highlight came when the band started playing the much-anticipated \u201cYoung Folks,\u201d their standout hit. The audience danced and sang along, transported to a simpler time. Peter ended the song by tweaking the lyrics to say, \u201cI would go along with someone like the Sinclair, Cambridge,\u201d a heartwarming close to a timeless bop that still deserves its flowers.\"\"<\/span><\/p>\n

\u201cObjects of My Affection\u201d got the crowd moving, with interactive fast clapping propelling the band to an insanely energetic finish. After completing \u201cWriter\u2019s Block\u201d in reverse, Peter Bjorn and John transitioned to newer material, playing \u201cBreakin’ Point\u201d (2016) and \u201cLiving a Dream\u201d (2018). They also included an improvised poem by Bj\u00f6rn, a cover of The Concretes accompanied by a funny anecdote, and a three-song encore, exceeding the audience\u2019s expectations.\u00a0<\/span><\/p>\n

\"\"<\/span><\/p>\n

Peter Bjorn and John showed Cambridge that even twenty years after releasing a hit album, they still possess more energy and charisma than ever. They delivered on all fronts, performing nostalgic hits, hard-hitting deep cuts, and newer jams. The show was a joy for all ages and a fitting celebration of their musical legacy.\u00a0<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

Photography by Jack O’Sullivan Review by James Klein On a rainy night in Cambridge, Peter Bjorn and John returned to Massachusetts for the first time in six years, delivering a wholesome, nostalgia-filled, yet powerfully raw show. The Sinclair was filled with old and young hipsters eager to watch the Swedish band play their 2006 hit […]<\/p>\n","protected":false},"author":22960,"featured_media":48781,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1895,1525,1523,15,1530],"tags":[33,1128,26,517,2419,126,25],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/48774"}],"collection":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/users\/22960"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=48774"}],"version-history":[{"count":2,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/48774\/revisions"}],"predecessor-version":[{"id":48783,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/48774\/revisions\/48783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media\/48781"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=48774"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=48774"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=48774"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}