Photo Credit: Ismael Quintanilla III<\/p>\n
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Review by Brianna Benitez<\/p>\n
An hour after the doors opened to Boston\u2019s 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\u2019s impending arrival. Marking Remover\u2019s second sold-out Boston performance for her current tour, or \u201cLive Exhibit,\u201d fans snaked past Commonwealth Avenue\u2019s Raising Cane\u2019s and around the corner as eager adolescents awaited the show.<\/span><\/p>\n 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\u2019s Sinclair, Remover knows how to find her way into the heart of anyone willing to listen. Lust, yearning for a lover, drowning in juvenility \u2014 the musician dissects it all while the nostalgic virtual element to her music remains. Formerly under the alias Dltzk, Remover\u2019s beginnings in digicore and hyperpop continue to influence her current work, which is how she originally established herself, tracing back to the pandemic\u2019s booming SoundCloud rap era.<\/span><\/p>\n Remover\u2019s musical chapters unsurprisingly fail to go unforgotten time after time. When she last performed at the Sinclair last year, whispers of \u201care we getting any \u2018Census Designated\u2019 tonight\u201d were heard throughout the show. To our dismay, she only stuck to her then-recent project, \u201cRevengeseekerz,\u201d for the entirety of the show, but her performance didn\u2019t disappoint. If listened back-to-back, \u201cCensus Designated\u201d and \u201cRevengeseekerz\u201d 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\u2019s name at a concert. However, a true artist never forgets where they started. Time after time, Remover\u2019s recent productions consist of samples from her very own \u201cCensus Designated\u201d and “Frailty.” Synths and guitar from the early projects infiltrate the foundation of the newer projects, scratching an itch for long-time listeners.<\/span><\/p>\n Remover\u2019s 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 \u201cSatisfaction\u201d and \u201cComplicated,\u201d 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\u2019s faces as the producer got bodies shaking up the venue.\u00a0<\/span><\/p>\n As a fan of classic electronic musicians myself, I found myself comparing Dazegxd\u2019s snares to Aphex Twin\u2019s \u201cC**k\/ver10\u201d from his 2001 project, \u201cDrukqs,\u201d with the sharp and intense pacing of his beats. As promised on Remover\u2019s 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.<\/span><\/p>\n Wasting no time and starting strong with \u201cTWICE REMOVED,\u201d Remover walked across the stage and then went into performing various tracks off of \u201cRevengeseekerz,\u201d intermittently teasing the crowd with \u201cCensus Designated\u201d instrumentals for no more than 20 seconds in between songs. Before diving deeper into her discography, she performed then-unreleased \u201cBeauty Sleep,\u201d and the audience was more excited than ever for the sneak peek at the track she\u2019d go on to release two days after her final \u201clive exhibit\u201d in Boston. Wearing a Miley Cyrus tank paired with spiked black pants and boots, Remover\u2019s fashion and vivid red hair shone brightly on the platform.<\/span><\/p>\n Remover\u2019s active side project and alias, venturing, was something the audience was eager to hear live in spite of her previous shows full of \u201cRevengeseekerz.\u201d Her only album under the alias, \u201cGhostholding,\u201d is a complete 180 from the Remover most know. Relentless heartache is a familiar feeling in \u201cGhostholding\u201d and unheard of in \u201cRevengeseekerz,\u201d but her smooth vocals seep into all of her work, and people craved it. She would go on to perform venturing tracks such as \u201cBelieve,\u201d \u201cDrunk lullaby,\u201d and \u201cIn the dark,\u201d 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.<\/span><\/p>\n 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 \u2014 let that be another \u201cLive Exhibit,\u201d project, or brand new era \u2014 her fans will stick through it all just to, as she says it best in \u201cMusic Baby,\u201d dance all night.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":" Photo Credit: Ismael Quintanilla III Review by Brianna Benitez An hour after the doors opened to Boston\u2019s 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\u2019s impending arrival. Marking Remover\u2019s second sold-out Boston performance […]<\/p>\n","protected":false},"author":26292,"featured_media":54733,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1525,1523,15],"tags":[327,2402,117],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/54731"}],"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\/26292"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=54731"}],"version-history":[{"count":1,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/54731\/revisions"}],"predecessor-version":[{"id":54734,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/54731\/revisions\/54734"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media\/54733"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=54731"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=54731"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=54731"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}