"Barking Loud" with Mannequin Pussy at August Hall

I learned about Mannequin Pussy thanks to my older sister, an ex-emo who has shaped most of my music taste. Immediately, I remember hesitating saying their name and thinking that I could never play Mannequin PUSSY around my mom, who I’d often force to listen to songs I liked at the time. From the first listen to some of their hits, including “Drunk II” and “Control,” I felt a certain type of resonance with their music that I didn’t find from other indie rock/punk bands. Their music goes beyond a classic punk rage, but I didn’t quite understand what that meant to me, until this show: On Saturday April 27, the last weekend before dead week and finals gloom would overcome Berkeley, I dragged my best friend to August Hall in San Francisco for an electric, aggressive, therapeutic, and amazing time with Mannequin Pussy’s I Got Heaven Tour.

(Left to Right) TJ Stevenson on drums, Pierce Jordan singing, and Winston Hightower on bass

As we got settled into the venue while laughing at my photo pass which simply had “PHOTO PUSSY” written on it, Soul Glo opened the show with immense energy. Immediately, I wished that I had brought my protective earplugs, since lead singer Pierce Jordan’s vocals screeched, in what seemed like competition with the hardcore guitar and fast-paced drums that blared through the venue. Their screamo-punk sound had concertgoers moshing and head-banging to tracks off their 2022 album, Diaspora Problems. Even though I often couldn’t understand Jordan’s lyrics because of the general volume of the rest of the band (besides the Ice Spice “Deli” to “B.O.M.B.S.” transition which was absolutely amazing), their stage presence as a group was insane, with GG Guerra on guitar shredding, Winston Hightower cooly driving the songs on bass, and TJ Stevenson on drums upping the pace every song.

GG Guerra on guitar

(Left to Right) Missy Dabice and Colin “Bear” Regisfo

After a crazy set from Soul Glo, the crowd of mostly 20 somethings donning all black outfits stood in anticipation, cheering at any sign of the band coming on stage (with many false alarms). But when Mannequin Pussy finally came on stage after an hour, the wait was worth it. I was immediately struck by lead singer Marisa “Missy” Dabice who waltzed on stage in a beautiful polka-dotted red gown with shaggy jet black hair, a strat, and a bottle of Baileys, which sounds like a bunch of oxymorons. The five-membered band opened the performance with “I Don’t Know You” and other tracks off of their 2024 album, I Got Heaven, in a vastly different change of tempo from Soul Glo that came before, characterized by softer vocals and grungy guitars. As the first half went on, Dabice’s clear and powerful voice grew stronger and echoed throughout the venue alongside the singing crowd. Her stage presence was magnetizing, as she danced, sang, head banged, and lost herself within the music. The rest of the band appeared as if they were casually jamming despite the heaviness of their sound, making their parts look easy and effortless as the lights of the venue changed color.

(Left to Right) Carolyn Haynes, Missy Dabice, and Kaleen Reading

The songs increased in intensity with interludes of Dabice’s whispery and sometimes creepy commentary followed by screams, leaving the crowd was completely enamored. My friend and I got caught up in the aggressive mosh pit and somehow made it to all four corners of the venue as if we were launched in a pinball machine. We ended up with matching bruises, but it was so worth it, as the energy inside of August Hall was insane for every single song—everyone was screaming along to iconic lines like “I STILL LOVE YOU, YOU STUPID FUCK” (from “Drunk II”). “Loud Bark” was especially powerful to me because of the united crescendo of the chorus from Dabice and the crowd together; I still can’t listen to the song without feeling chills from watching it live (and thinking about the exchan).

At the halfway point, Dabice remarked that it was time for the “fun part of the show,” and immediately the band began to play faster, heavier, and louder songs (which once again reminded me to NOT forget to bring my earplugs next time) like “Perfect” and “OK? OK! OK? OK!”. The crowd screamed harder, the soundscape became more discordant and aggressive, and I could feel the emotions from Dabice’s lyrics exuding within the crowd.

Maxine Steen on guitar

Carolyn Haynes on keys and guitar with Palestinian flag on keyboard

Dabice commented on this sense of connection, holding a powerful segment asking why we are all gathered here today. She talked about the deeply political nature of American society, and made a statement in support of Palestine; specifically, she expressed a sentiment plaguing the minds of many Americans, that being that we are complicit in a genocide that we do not support. It was here that I could feel a sadness within the crowd despite all the fun moshing, and Dabice opened up, describing a deeply personal pit of accumulated tragedy and trauma within herself that threatens to take over if she doesn’t fight it. She then turned to the crowd, and hypothesized that we have the same pit in us, and our united fight of these constant tragedies is what brought us together for this show at August Hall on this random day. She concluded this segment by urging us to scream together and release our frustrations and negative emotions together.

Colins “Bear” Regisford on bass

The concert ended with their hit song “Romantic,” with the crowd completely pressed against the barricade reaching for Dabice’s hand as she sang. As the band bowed out and the venue played some songs to exit to, many continued to stay and dance together in a wholesome display. And as I walked to the nearest BART station with newfound hearing loss, I reflected on the experience and the band.

After seeing Mannequin Pussy live, I was finally able to conclude why their music differs from that of other bands in this scene. Dabice’s lyricism and commentary throughout the concert felt deeply personal to my identity, specifically as a woman and my identity as a young person growing up in what feels like an almost apocalyptic world, whereas the sentiments of many white, male dominated punk bands feel more violent and distant to my experience. When I listen to Mannequin Pussy, I feel the expectation of performing as a feminine, sweet, well-tempered woman go out the window in a way that I have never really felt before. Dabice’s voice, lyrics, and temperament—along with the progression of the powerful backtrack of the band—capture the essence of feeling trapped in a constant performance as the world around you falls apart. At the same time, the band provides the audience a space for a cathartic release of the accumulation of anger and sadness caused by the politics of misogyny, homophobia, racism, and personal struggle in our day to day lives. However, this is just the way that I resonate; Mannequin Pussy’s music is multifaceted in that it strikes a chord for different people who feel trapped in different ways. To sum it up, Mannequin Pussy put on an amazing show at August Hall and I highly recommend getting tickets to their show if you ever can—for an unforgettably good time.