Yves Tumor Rocks the Metro to its Core

Yves Tumor commanded a sold-out crowd with their genre-bending sound, shifting effortlessly between rock, psychedelia and electronica at the Metro March 30 .

The first of two openers, Izzy Spears crashed onto the stage enveloped in fog and red lights. 

Spears traversed across the stage as his volatile lyrics invigorated the crowd. His rapping was accompanied by some raucous industrial hip-hop beats.

After playing a few songs, including the standout track “Hollywood Meltdown,” Spears conceded the stage to the second opening act, DOSS.

DOSS shyly walked onto the stage before taking their place behind their DJ booth. Without saying a word, they began their vibrant EDM set.

Liam Martel | The Phoenix Yves Tumor has released four studio albums in their career.

Unlike their subdued creator, DOSS’s songs were anything but quiet — they roared out of the speakers and flooded the venue.

After a 45-minute set, they left as quietly as they entered. With the dismantling of the DJ booth, the only traces of their performance left were memories, and perhaps some mild hearing loss.

As the crowd waited, an overzealous fog machine on stage left began to envelop the hapless fans with fog every few minutes. Audience members groaned and pulled their shirts over their mouths, desperately trying to escape the fog’s smothering embrace.

Adding insult to injury, 15 minutes before Tumor arrived, a distorted guitar loop began blaring from the speakers. It was as if a tool from Tumor’s musical Pandora’s Box had escaped before Tumor was ready to take the stage. 

Fortunately for the crowd, Chris Greatti, Yves Tumor’s guitarist, eventually crept onto the stage and tamed the dissonant guitar. Greatti harnessed the guitar’s unstable chords into the opening notes of “Jackie,” Tumor’s smash hit from their 2021 release, “The Asymptotical World EP.”

Liam Martel | The Phoenix Chris Greatti, Yves Tumor’s guitarist, brought energetic sounds to the March 30 show.

Halfway through the song’s opening instrumental, Tumor emerged from the shadows and strutted up to the mic stand. Their hands softly embraced the mic’s neck as they began to deliver the song’s sultry opening lines.

“Hey little Jackie / When you wake up do you think of me? / I said hey, Jackie, baby / When you rest your mind do you think of me?”

With the guitar back under Greatti’s masterful control, Tumor was able to channel the forces of chaos through their music with ease.

When Tumor’s spellbinding vocals and Greatti’s mesmerizing guitar playing fused together, it left the audience awestruck. The duo were certified rockstars.

Tumor followed “Jackie” with four tracks from their critically acclaimed 2020 release, “Heaven to a Tortured Mind.” Their vocals effortlessly morphed alongside the shifting instrumentals on “Romanticist,” “Dream Palette,” “Gospel For a New Century” and “Medicine.”

Liam Martel | The Phoenix Yves Tumor performed March 30.

Throughout the show, Tumor would walk to the edge of the stage and playfully offer their gloved hand to their adoring fans. Tumor seemed to relish these moments, but they maintained a front of ambivalence with their head turned away from the crowd.

Returning to their mic stand, Tumor oozed with swagger as they performed “Crushed Velvet.”

“Crushed velvet / I’m in Heaven / I feel my best when / I’m dressed in all crushed velvet,” they sang on the track.

During the performance of “Kerosene,” Tumor playfully grabbed Greatti by his neck and pulled his head against Tumor’s chest. Sparks of chemistry coursed between the two and could be heard in the electric crackles of Greatti’s distorted guitar chords. 

Tumor crooned promises into Greatti’s ears singing, “I can be what you need / I can be your real life sugar / I can be in your dreams.”

To the delight of many longtime fans, Tumor played some songs from their 2018 album release, “Safe in the Hands of Love.” This trend continued into the encore performance, as Tumor played their breakout hit, “Noid.”

The closing track, “Secrecy is Incredibly Important to the Both of Them,” almost started a riot amongst the crowd. Sensing the end of the show, fans gave one last hurrah and turned the entire floor into a mosh pit.

Tumor lorded over the ensuing chaos with a gleefully devious smile as they departed the stage. 

Constantly evolving genres and sound, Tumor refused to be restrained by the suffocating handcuffs of what is possible. The result of their efforts was a performance in a class of its own.

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