“None of You Bitches Can Compete”

The First Unitarian Church of Philadelphia is a legendary concert venue. Aside from the fact that it’s awesome both by virtue of its hosting hardcore shows in a church basement (we love irony) and being a tiny venue (we love intimacy), I’m not sure how it’s so widely known and respected. And I won’t complain about its popularity, but I just want to take a quick moment to formally say, "Fuck you all the way, fully and completely, and without remorse or mercy," to all ticket scalpers (especially looking at you, individual-ticket-listed-for-$3,500 guy) and declare eternal war upon them. May they stub their toe every single day, receive the wrong coffee order in perpetuity, and experience financial ruin and become as economically bankrupt as they are emotionally and spiritually.

Anyway, the venue is always a great time, and Wednesday night was no exception.

A Literal Babe Haven

North Carolina-based rock outfit Babe Haven is difficult to classify. They have the same unrelenting energy as a hardcore punk band, but there is a wide array of influences at play, ranging from hardcore to 90s alternative to thrash and metal. Maybe the spiritual successors to Dilly Dally? I’m not sure how I’m supposed to label them in terms of overly specific subgenres, but the most important piece of information is that they fucking rock.

As is imperative to the spirit and purpose of hardcore, punk, and punk-adjacent rock in all its forms, Babe Haven did not shy away from their convictions. From anti-MAGA and “fuck ICE” declarations to the celebration of queerness and the struggles of the Asian-American experience, Babe Haven both verbally and musically explored themes of disenfranchisement and bigotry in today’s insane and frightening political climate.

And, as with all great artists, they seamlessly blended the message with the music. Their rage was channeled through a sensory onslaught of piercing loudness and raw energy. Lead vocalist Lillie Della Penna concluded each song with a bubbly “thank you” to the audience. It was the perfect antidotal juxtaposition to her screams during the performance of each song. A reminder that, yeah, they’re pissed off, but music is a communal catharsis for all involved, and they were having fun.

While the earnestness and sincerity of their messaging remained fully intact, they were able to expertly weave the seriousness of their sociopolitical ideologies with a set that remained contingent upon good vibes (bubble machine and all). One of my favorite aspects of aggressive rock shows in general is how the best bands are able to channel their restless rebuke of modern society into a genuinely good time for everyone in attendance. It becomes more than simply a declaration against the evils of the world and manifests as a celebration of a community willing to embrace unity, not just standing against hate, but standing for love. And Babe Haven perfectly encapsulates this sentiment.

Guitarist Naomi Poesel shreds with the best of them. From a gnarly tone to heavy, yet dynamic riffs, especially in the breakdowns and bridges, it was awesome to watch her rock so hard that she lost both her hat and glasses at various points throughout the set. Bassist Julia Lynn matched the energy of her bandmates, turning the bass into an equal opportunity riff machine. And last, but certainly not least, drummer Brendan Martini added a level of intensity and technical ability that perfectly complements the ensemble. It was mesmerizing to see each of them so laser-focused on rocking out as hard as humanly possible.

It’s not all the time that openers are so perfectly complementary to the headliner, but Babe Haven served as the perfect musical segue into what would come next with Die Spitz.

To summarize, my biggest takeaway from their set is that this is a band on the rise and one well worth our collective attention.

NEVER SAY DIE

Holy shit.

That’s my two word review.

I suppose I should expand a bit… First, I need to disclose that Die Spitz is my current favorite musical obsession. Their full discography from the The Revenge of Evangeline EP to Teeth to their individual singles to their latest LP (and my album of the year pick) Something to Consume has been on repeat for me. I can’t get enough. I’m a lover of music. And I have a tendency to experience recency bias with any exciting release or new discovery, but every once in a while, an artist or album will come along that sends me into the musical stratosphere and becomes a permanent fixture. And Die Spitz has effortlessly succeeded in converting me to an instant die-hard. So I came into this show with an insane level of bias and hopeful expectation.

Needless to say, I was not disappointed.

Die Spitz encapsulates all that is good about rock music in modern day. They are dynamic, unique, varied, talented, and are able to blend it all into a tight and palatable package of sonic excellence that doesn’t live in conflict with itself. It’s not every artist who can put together an album that starts with shades of Hole and Slothrust, then segues into pummeling riffage emblematic of The Sword, then to a shoegaze-influenced psychedelic sludge exploration back to the endless variances of what constitutes “alternative rock,” and to do it all so seamlessly and seemingly effortlessly.

But this isn’t the album review, so I’ll save that for later… In short, Die Spitz delivered on their reputation as one of the most exciting bands to emerge into the current alt-rock limelight. Hailing from musical-Mecca Austin, TX, They’ve quickly built a grassroots reputation borne out of their high energy live shows and effortless ability to just embody the spirit of rock music in its purest form.

Like Babe Haven and both bands’ myriad influences, Die Spitz has no qualms with advocating for their beliefs. I just thank God, the universe, or whatever that the alt-rock (whatever that means anymore) musical community is so unapologetically in favor of advocacy and standing against injustices. Standing for something while still being able to party, and doing it all while remaining human and introspective. Die Spitz explores themes that range across the full spectrum of the human experience. And that’s what makes it so relatable to those in alignment, especially for young women.

Which brings me to what makes Die Spitz so special live: the band’s dynamic. Aside from the fact that they clearly all love each other, they also all clearly love playing music. Guitarist Ava Schrobilgen’s shy, self-depracating reluctance to be front and center as she’s tasked with sharing lead vocal duties with fellow guitarist and co-lead vocalist Ellie Livingston is nothing short of endearing. Ellie, in contrast, embraces the spotlight in a “gives-no-fucks” level of goofiness and unapologetic stream of consciousness that serves to showcase how you can be incredibly unserious while also being incredibly earnest and sincere. Bassist Kate Halter sustained a smile from the moment she walked on stage until the end of their encore. I wonder if she’s still smiling (I hope so!) And drummer Chloe Andrews deserves an award for her enthusiasm and dexterity, performing the entire set with a broken finger, a fact we learned at the start of the encore when she took lead vocal duties for “Groping Dogs Gushing Blood.” 

Also, I can’t forget to mention the frogs. A few songs into the set, just before launching into standalone single “My Hot Piss,” each member of the band was bestowed matching knitted frog beanies. From my vantage point, they seemed to materialize from thin air, but I’m not one to question these things. Ellie declared each of them members of the frog army and led us all in a chant of, “Frogs! Frogs! Frogs!” 

Both lyrically and performance-wise, Die Spitz owns their womanhood confidently and powerfully. For more than half a century, rock music was a boys club in every conceivable way. From overt sexism and vile behavior to lyrical content and ideologies focused on male sexual fantasies, it’s not too difficult to look back on a lot of it with severe disdain. So in today’s musical sphere, seeing so many women lead the charge is both refreshing and encouraging. And it’s not my place to voice the struggle or experience - but I will be very clear that I will forever advocate giving platforms and voices to those who can, will, and should speak out and share their experiences. And Die Spitz fearlessly contributes to that with the power of raw talent, sincerity, and serving as living proof that four women from Austin can rock harder than all of the generic white dudes that saturate the scene. I digress… While the theme of being a woman is ever-present in Die Spitz’s lyricism and philosophy, it was also highlighted during their performance. Before “RIDING WITH MY GIRLS,” Ellie demanded all women rush to the front of the stage. Seeing such a force of inspiration is, to say the least, extremely encouraging, especially with so many young women in the crowd.

Also there was a shitload of crowdsurfing and stage diving.

Last, and perhaps most importantly, as they prepared to end their encore with my personal anthem of the year, “Throw Yourself to the Sword,” Ellie pulled out a very real and authentic medieval-ass broadsword and took a moment to knight various women in the crowd with the honorable title of being “cunty.”

And then they melted our faces off one last time.

It was over too soon. That’s maybe my one complaint. But it’s not really a complaint as they played a perfectly reasonable set having *technically* only one proper full length album.

I have a difficult time articulating the level of enthusiasm I hold for artists like Die Spitz. I’m like a musical hopeless romantic; there’s a factor of “I know when I know.” And every once in a while, I’m met with that knowing feeling.

All I can say is that if you get the chance to see them, do it now. Because their star is already starting to shine bright and it won’t be long before I’m in the nosebleeds telling the tale of how I once got to see them at First Unitarian Church “before they were big.” But the truth is that whatever success they achieve, it’s well-earned. Ellie thanked us during the show for helping to make her dreams come true. But I think we should thank her and her bandmates for inspiring us, for being a force for good, for advocating for what’s right, and for giving us at least some semblance of joy and hope, delivered via some of the most exciting modern music and badass live shows, in a world that often makes little sense.

Long live Die Spitz.

Set Lists

Babe Haven

Nuisance
Final Girl
Gas Pedal
Bubbleguts
Kung Pow
GIRLS TO THE FRONT
Suck It Up
Uppercut
Big Trouble
Blind Yourself
Die (and Rot)
If I Were You
Can't Call This Cat

Die Spitz

I hate when GIRLS die
Red40
Monkey Song
American Porn
Down On It
My Hot Piss
Grip
Pop Punk Anthem (Sorry for the Delay)
Go Get Dressed
Evangeline
_______________
Groping Dogs Gushing Blood
RIDING WITH MY GIRLS
Hair of Dog
Throw Yourself to the Sword

Text by Justin Stercula. Photos by Conor Clancy.