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On Saturday night, Boston indie rock outfit Somos put on a show at The Studio at Webster Hall in downtown New York City.
Philadelphia punk quintet The Superweaks followed and rocked the stage with blaring guitars and head banging drums.
Somos began their set with the single, "A Thorn in the Side," a great opener that got the crowd going.
The concert was brisk, which Somos jokingly blamed on their under-an-hour-long discography. Although it was only the third day into their first headlining tour, Somos really held themselves together as a band and put on a fantastic show.
You heard it right, Blink-182 have announced their 2016 summer headlining tour with A Day To Remember.
The legendary Paul McCartney has announced seven North American and three Germany concerts for his One On One 2016 tour. There's no denying the enormity of Somos' 2012 demoa€”a four-song introduction whose epitomizing moment occurs during the final thirty seconds of the first track when the instruments snuff themselves out and singer Michael Fiorentino's otherwise steely voice rises into a serious, startling roar.
It is no surprise, then, that Somos' debut full-length, Temple of Plenty, is more enormous and more powerful than its predecessor, though they replace the scorching, sharp chords with a smoother, more expansive sound. Maybe the epitomizing moment on Temple of Plenty occurs on "Strangest Example", a song that appears in a different form on the band's demo.


Due to mental health issues stemming from frontman Michael Fiorentino, Somos have dropped off of their upcoming tour with Dads. Somos released their debut full-length album, Temple Of Plenty, in 2014 via Tiny Engines. We have some unfortunate news to share: we are no longer on the February tour with Dads and Roger Harvey. We plan on continuing to tour and make music, once I take the proper time to address my health. The band is currently on tour in support of their second full length album, First Day Back, with Petal and The Superweaks.
The band mixed up their setlist with new songs off First Day Back and older ones off their 2014 breakthrough album, Temple of Plenty. I spoke with bassist and vocalist Michael Fiorentino after the concert and he said, “The band’s honored to have such a great turnout for New York City and it was one of the most fun shows we ever played.” I hope Somos makes their way back to the city very soon. By the time the band rebuilds itself for a final chorus, Somos has already established itself as an explosive, fiery monster that leaves its listeners smoldering.
The guitars on "Familiar Theme", for example, are clean, plucked in spinning patterns and strummed in vibrant, wavering chordsa€”that is, until the chorus, when guitarists Phil Haggerty and Justin Hahn step on the distortion. Dropping a tour is a tough thing to do, and I want to be very open about why we came to this decision.


We sincerely apologize to Dads and Roger Harvey, as well as to anyone who bought advance tickets. Front-woman Kiley Lotz stole the show with her clear, emotional vocals backed up by Tigers Jaw guitarist Ben Walsh.
Unfortunately, they did not do that but one of the one of the coolest moments of the show was when they ended with the bitter, melodic workforce tune "Dead Wrong," and made a shout out to the Black Lives Matter movement. Even then, their instruments are fully fleshed-out, enormous not because of their crunch but because of their breadth. This re-imagining of "Strangest Example"a€”and, admittedly, Temple of Plenty's entiretya€”possesses the same power expressed on the band's 2012 demo, but it's derived from depth and finesse and the sort of velvet execution that will make Somos' first full-length one of the most impressive debuts that's likely to be released this year.
I have struggled with anxiety and depression, and it eventually built up to the point where touring in February was daunting and unmanageable. I recently started to get serious about treatment, but we want to have a few months off while I pursue the goal of dramatically improving my mental health. Here, again, the weight of this third song comes not from overdrive or volume or some superficial production trick, but from its beat and dripping guitars, from Fiorentino's firm singing stylea€”from the songwriting itself.



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