On Saturday, April 19th, Djo brought his electric energy to Phoenix’s Van Buren. Lead singer Joe Keery, known for his acting roles in films such as Free Guy, Spree, and Stranger Things, fronted the band with his confident demeanor, opening the show with the band’s 2022 track, “Gloom”.
Starting with an older song isn’t a calculated move, but it surely has a way of weeding out fake fans- and the audience proved to be just as electric as him. There’s an apparent significance to the show beginning with the lyrics, “and now I’m ready to go,”- but the song also belongs to the album that skyrocketed him to greater fame, 2022’s Decide. The traction that “End of Beginning” received two years later gave him a burst of motivation that led to the creation of his 2025 album, The Crux– so it was only fitting to begin the show with the album that made him.
Despite beginning with an older track, the show was primarily composed of its newest hits. The Crux has some more bouncy and whimsical tracks that draw upon the imaginative prowess of MGMT. “Charlie’s Garden” is a perfect example of the lightheartedness this album is capable of, as it weaves in psychedelic melodies and 1960s trumpets. On the other side of the emotional equation, there are songs like “Fly” that incorporate similar techniques, such as the electric harpsichord, which stops the dancing and sends you into a state of deep thinking, or even oblivion. He sings, “I’m running through the snow again/ when will spring come again?”
The lyrics are broad enough to instill a general sense of heartbreak in all audience members, but may be more reflective of Keery’s “Saturn’s Return”, an astrological phenomenon where Saturn returns to its original position in your birth chart, which occurs about every 29 years. The melancholy sprinkled throughout this album, whether it is coated in cheery electronic jingles or embraced through slower acoustics, is a constant reminder of the number “29” and its significance as a turning point in life. “Gap Tooth Smile” draws upon more oldies, singing, “Freddy said it right ‘cause she’s my killer queen/And I tell her all the time/Yeah/I tell her all the time/How many times?” You guessed how many times he counts too in the upbeat track- “Twenty nine, twenty nine, twenty nine!”
Back On You” reflected on some of the softer, less turbulent moments with a tone reminiscent of Julian Casablancas in some of his less deadpan moments and an electronic background similar to The Strokes lead singer’s other band, The Voidz. The Crux is dusted with vintage influences, but it also doesn’t shy away from beats that sound like they’re manufactured inside of a video game. Altogether, it’s old, it’s new, it’s nothing short of groovy, and the freshness of the album transfers almost precisely to the stage it sounds even better. Electronic music can be a game of catfish when the action comes to the center stage, but Djo proved to be what he promised, and then a little bit more.
Their last track was the one that skyrocketed Djo to fame on social media- (unless you count the softer, quieter “Chateau”). The iconic “End of Beginning” would have elicited excitement from the crowd if the audience were only fluent in TikTok, but their excitement was just as vibrant as it had been for the rest of the tracks. The encore included the peppy “Back on You” and finally, “Flash Mountain.” Their last track brought the night’s opener, Post Animal, back onstage to join in the indie orchestra, creating an explosive ending to an already electric concert.
Though it was a shorter, one-hour concert, the room was buzzing with something —maybe an invitation that there’s still room for more. With three albums under their belt and a rapidly growing cult following, Djo is just getting started and will soon be noticed as the artist behind the band, versus the artist behind the television series.
One Response
Was sad to miss this show. After reading this, I feel like I was there. Thanks for such an immersive review!