Carrying enough energy, fashion sense, and personality to make even the best 80’s and 90’s rock stars jealous, Yves Tumor entranced the crowd at 1015 Folsom in San Francisco on Friday, March 18th. Backed by a phenomenally cohesive supporting band, Tumor commanded the stage with green hair and gaudy jewelry, framed by intense, colorful lights, thick fog, and the evaporating sweat from the crowd that had already been bouncing around for several hours. Despite the performance starting after 1:00 AM, it was impossible for the audience to feel tired when they were confronted by Tumor’s electric presence. It certainly helped though that this crowd was made up of many dedicated fans who knew all the words to not only the most popular songs such as “Licking an Orchid” and “Jackie,” but also every song that was played off of the 2020 album, Heaven to a Tortured Mind. 

Yves Tumor’s stage presence relies heavily on the concept of a “tortured mind,” with their edgy all-black look, but it was also elevated and lightened by the bedazzled jockstrap and rhinestone decals spelling out “SEX” and “69.” The juxtaposition of the flashiness and alternative vibe was mirrored in the performance as well. During “Kerosene!,” one of the obvious fan favorites that night, Tumor sang with so much conviction and obvious feeling: “Tell me what you need/I can be your baby in real life, sugar.” However jarring it may seem to hear that kind of sentimental lyric expelled in such a visceral and aggressive way, Tumor carried it out in a graceful manner. It felt appropriate that passion came out in the way they carried themselves, maintaining high energy and exuberant delivery of lyrics for the entirety of the set. Yves Tumor embodied both angstiness and levity simultaneously, and that was reflected in the attitude of the crowd. They were jumping, yelling, and pushing, but they occasionally looked up in adoration at Yves Tumor who was no doubt delivering the kind of performance they were hoping for.

As Yves Tumor moved around the stage, engaging with different areas of the crowd so no section felt left out, the band proved their established rapport by interacting with each other on stage in a way only people who have worked with each other for a while are able to. The drummer, Rhys Hastings, and the bassist, Gina Ramirez, were able to keep up with the high energy, and each did a fantastic job, especially when Ramirez provided supporting vocals that contrasted nicely with Tumor’s charged singing voice. Tumor stole back the show through their interactions with guitarist Chris Greatti in the middle of an already rousing song that was made more so by their palpable chemistry. 

To the fevered excitement of the crowd, Tumor grabbed the guitarist by the neck (appearing to choke him), covered his eyes, and yanked him around center stage in a way that displayed the concurrent brutality and tenderness that can only be found at an Yves Tumor concert. One might think this would impede good guitar playing, but Greatti shredded on as he had been doing all night, with the same fever as Tumor themself. On the contrary, the show went on without a hitch, which further energized the audience.  The bright, colorful lighting was controlled in a way that masterfully illuminated the emotions of the songs and artist. Still surrounded by thick smoke, the band departed at the end of the night, much to the audience’s chagrin. Having just been imbued with a newfound inspiration, they had nowhere to take it but the cold 3:00AM streets of San Francisco, or perhaps, The EndUp down the street.

Article by Baylie Raddon

Photos by Addie Briggs

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