{"id":50734,"date":"2025-10-30T18:41:44","date_gmt":"2025-10-30T22:41:44","guid":{"rendered":"https:\/\/sites.bu.edu\/wtbu\/?p=50734"},"modified":"2025-10-30T19:10:19","modified_gmt":"2025-10-30T23:10:19","slug":"neon-trees-house-of-blues-10-27","status":"publish","type":"post","link":"https:\/\/sites.bu.edu\/wtbu\/2025\/10\/30\/neon-trees-house-of-blues-10-27\/","title":{"rendered":"NEON TREES @ House of Blues 10\/27"},"content":{"rendered":"

Photography by Mia Anderson<\/p>\n

Review by Callan Sweeney Harris<\/p>\n

A decade after their last Boston show, Neon Trees returned to a warm welcome at the House of Blues on Oct. 27. The crowd\u2019s energy was palpable as Tyler Glenn took the stage, sauntering in wearing a studded black jacket and circular shades. The band launched into a clearly well-chosen pairing of \u201cSkeleton Boy\u201d into \u201cTeenager in Love,\u201d as the crowd was immediately singing along.\u00a0<\/span><\/p>\n

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What followed was an entertaining and well-performed set that Glenn himself described as \u201c90 minutes of really sad fucking pop music.\u201d He controlled the crowd with ease as a confident and well-practiced frontman, playing repeat-after-me vocal games and singling fans out while singing. His stage presence was wild and passionate, reminiscent of other iconic performers. Like Michael Jackson, he balanced on his tiptoes for seconds at a time, and like Freddie Mercury, he handled the mic stand like a prop, lifting it high above his head, holding it far out over the crowd, or throwing it aside for dramatic effect. Glenn masterfully drew influence from the greats while firmly establishing his own unique, theatrical brand of rock star bravado.\u00a0\u00a0<\/span><\/p>\n

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Glenn shared with the audience that their last time in Boston was 10 years ago \u2014 back when he had only recently come out to the public as gay. He told the crowd that back then, he very well could\u2019ve scared off the Boston crowd \u2014 he was discovering his true self and figuring out how to <\/span>be<\/span><\/i> that self \u2014 and he\u2019s very glad that so many fans have returned. He credited his eccentric personality to not knowing how else to be himself. Before coming out, he explained that he kept too many secrets, and that being out and not having secrets has been the most effective method to preserve his true self.\u00a0<\/span><\/p>\n

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The heartfelt moment Glenn shared with the audience made for a seamless transition into their song \u201cSecret,\u201d where he sings about the simultaneous anxiety and adrenaline rush of keeping a relationship a secret. The crowd was booming for this one; everyone singing the word \u201csecret\u201d at Glenn\u2019s command.\u00a0<\/span><\/p>\n

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Glenn\u2019s star quality and wildly impressive vocals combined beautifully with the backup of his energetic band. Elaine Bradley on drums and Chris Allen on lead guitar made for a solid foundation, while touring artists, <\/span>Denney Fuller on bass and David Charles on rhythm guitar, added electric energy. Everyone joined in on backup vocals, creating a diverse harmony that flowed with Glenn\u2019s melodic belts.\u00a0<\/span><\/p>\n

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Fuller\u2019s energy, in particular, was a highlight. He took every opportunity to jump, spin, or run in circles. He struck a superhero or rock star pose at the end of every single song; bass in the air, pointing at the crowd, held above his head, or dipped like a dancing partner.\u00a0<\/span><\/p>\n

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Allen brought hairography that would make Beyonc\u00e9\u2019s dancers jealous, with vicious, on-beat headbanging, coupled with a bleach-blond head of hair. His guitar solos in \u201cNights\u201d and \u201cSongs I Can\u2019t Listen To\u201d blew the crowd away. Pink and blue lights illuminated him each time he transcended into his riff.\u00a0<\/span><\/p>\n

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Bradley\u2019s ability to anchor the rhythm of the show while providing strong backup vocals <\/span>and<\/span><\/i> making it all look easy made it that much more impressive.\u00a0<\/span><\/p>\n

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Glenn\u2019s command of the crowd was further amplified by a series of playful, unexpected covers woven into their own hits. He surprisingly\u00a0 sang the chorus of Sabrina Carpenter\u2019s \u201cTaste\u201d within the bridge of \u201cSecret,\u201d and later threaded Whitney Houston\u2019s \u201cI Wanna Dance with Somebody\u201d into their song \u201cSleeping with a Friend.\u201d These random inclusions flowed into their music surprisingly well, demonstrating the band\u2019s versatility and Glenn\u2019s ability to connect his \u201csad pop\u201d anthems to other current or classic pop artists.\u00a0<\/span><\/p>\n

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The only element that tempered the show\u2019s energy was Glenn\u2019s palpable sense of surprise at his enduring relevance. He repeatedly admitted astonishment that a crowd would gather on a \u201cMonday night to see Neon Trees in 2025.\u201d While sincere and heartfelt, this created a narrative of a band slightly perplexed by its own lasting appeal, which sometimes contrasted with the utter joy many audience members were expressing.\u00a0<\/span><\/p>\n

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They closed out the show with a cover of \u201cDon’t You Want Me,\u201d with Bradley singing lead vocals for a few verses. As an encore and grand finale, they ended with their most well-known song, \u201cEverybody Talks.\u201d Upon hearing Glenn\u2019s iconic \u201cahem\u201d to kick off the song, the crowd went wild. The band even stopped playing and let the crowd sing the entire chorus on their own, only to join back in with more energy than before.\u00a0<\/span><\/p>\n

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In the end, the Neon Trees set was proof of an enduring fandom and professional showmanship. It was an electric night that gave dedicated fans exactly what they came for: high-energy stage presence and feel-good pop music.\u00a0<\/span><\/p>\n

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Photography by Mia Anderson Review by Callan Sweeney Harris A decade after their last Boston show, Neon Trees returned to a warm welcome at the House of Blues on Oct. 27. The crowd\u2019s energy was palpable as Tyler Glenn took the stage, sauntering in wearing a studded black jacket and circular shades. The band launched […]<\/p>\n","protected":false},"author":24057,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1895,1525,1523,15,1530,1],"tags":[],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50734"}],"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\/24057"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=50734"}],"version-history":[{"count":7,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50734\/revisions"}],"predecessor-version":[{"id":50786,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/50734\/revisions\/50786"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=50734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=50734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=50734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}