Since releasing their debut LP in 2023, Austin-based Being Dead has grown, both in awareness and critical approval, like a pubescent teen on human growth hormone. And just when things were beginning to normalize, the band began another growth spurt on the heels of their new John Congleton-produced LP, EELS, which Pitchfork rated an 8.3 and included in their “Best New Music.” Being Dead is currently on the road, headlining their first national tour, and they stopped at PhilaMOCA on October 19th for their second-ever show in Philly, where the crowd could not have been more excited to see them.
Being Dead is a really interesting band, which in no way is meant as faint praise. This could be confusing because some of their outwardly surrealistic tendencies call to mind other ”interesting” bands over the years. For one, they’re one of countless boy/girl indie pop duos that have come and gone over the last two decades. In addition, they go by the stage names “Falcon Bitch” and “Shmoofy,” reminiscent of Ninja and Yolandi Visser of Die Antwoord, the subject of Jon Day’s 2024 documentary, Zef, which is more interesting and certainly more enjoyable than the music. (It also may be worth noting here that this band has no affiliation, official or otherwise, with the Grateful Dead or Mark Oliver Everett’s band.)
But Being Dead’s interestingness begins with two talented musicians and songwriters who write and perform original music that weaves classic elements and styles together in novel and compelling ways. Their music evokes various eras of pop music, from the sunshiny ‘60s to the jangly ‘80s, the grungy ‘90s to the indie ‘10s. Their performances feel loose and relaxed, but they seem to play in deliberate and precise ways, both rhythmically and harmonically. Perhaps most interestingly, they’ve learned how to walk the line between the two in a way that makes the end product interesting and, at times, transcendent.
Two excellent groups opened for the band. First came Sex Week, a Brooklyn-based duo formed by Pearl Amanda Dickson and Richard Orofino, who doubled the size of the touring band by including a bass player and drummer. Their sound is a throwback to the golden age of ‘90s alternative rock, and while it’s tempting to compare them to Liz Phair or Juliana Hatfield, their jangly, often chorus-soaked guitars and dreamy vocals brought to mind more contemporary acts like Real Estate and some of the other bands that likely influenced them, likely including Galaxie 500. Next came Golden Apples, a band of Philly music veterans whose hometown crowd showed up in droves to enjoy their shimmery indie pop, punctuated by psychedelic and shoegaze elements that kept the crowd’s heads bobbing.
Being Dead took the stage with Falcon on guitar, Shmoofy on drums, and, for the first time, touring bassist Nicole “Ricky Motto” Roman-Johnston. They opened with “Daydream” from When Horses Would Run, their 2023 debut LP, following it with “Rock ‘n Roll Hurts,” from EELS. As they chanted the song’s hook along with the crowd, Falcon and Shmoofy swapped instruments for the first of many times during the show, as they continued to play through older and newer tunes. Most in the audience seemed familiar with the songs, many singing along to every word, and most dancing and sometimes moshing. Falcon described Philadelphia as the “City of Passion,” as Ricky Motto plays a sad, yet passionate, new number. As their set ended, they returned for a two-song encore, including EELS’ “Ballerina,” which they performed for the first time, and a final tune sung by Ricky Motto, with Shmoofy on bass.
What sets Being Dead apart is their ability to blend genres in new and exciting ways. Their songs and show find them channeling the frenetic energy of the Minutemen, the swirling psychedelia of early Pink Floyd, and the noise of Sonic Youth or the Pixies. This dynamic range and their charisma and stage presence engaged the crowd from the band’s first note to their last. They genuinely appreciate their fans, taking their art seriously – but not too seriously – and bringing serious musicianship and lyricism to their work. They also are having fun on stage, which is highly infectious to those in the audience.
