Words by Jess Eckert. Words and photos by Kenzie Trikouros.
Kenz: We all listen to death metal, but those in the venue that night were listening to “D>E>A>T>H>M>E>T>A>L>.” Panchiko and their signature blend of lo-fi nostalgia and emotional transparency filled the ornate Brooklyn Paramount theatre.
I had never been to this venue before, and I was so excited to see Panchiko with my friend!
Jess and I ended up running into so many people we know, and that ultimately added to the sense of community that made the night feel even more special.
Jess wrote a review of the show, and I snapped the pics! They have such a way with words, I am grateful we could collab <3
Also, I met some members of the band… and I have the selfie to prove it.
JESS: Finally being able to experience Panchiko live at Brooklyn Paramount was a surreal and unforgettable memory to be cherished forever.
My photographer friend, Kenzie, and I arrived at the venue around 6 pm, with doors opening at 7 pm. Though we thought we were early, the line running up the block told a different story.
As we joined the end of our line with our cheap New York slices of pizza and juice, an hour turned into a few exchanged words and a conversation in anticipation for Panchiko. Some of my other friends ended up joining us as well.
Openers were Untitled Halo and Alison’s Halo.
Untitled Halo
I had never heard of Untitled Halo before and was looking forward to their music. Once the bassist and lead singer, Ariana Mamnoon (Ari), started singing, I was drawn in.
Dark and dreamy melodies, husky vocals. Instantaneously, she gave us a glimpse into her and the band’s musical world. All my fatigue I was once ridden with slowly dispelled the more they played.
Check out their newest single with voyeur, Eyes Full of Tears / doomcomplex here!
Alison Halo
Alison’s Halo’s opening was stark. The kick drum blared in my chest, reverberating up from my feet.
With the built-up anticipation from untitled halo, they invigorated me and the rest of the audience for their performance and Panchiko’s.
Visuals were very intracellular, abstract, and psychedelic. The morphing stringy blob of inverted colors from neon pink to green had me awestruck during their song “Melt” off their album Eyedazzler.
It sounded much different live than on Spotify! Their whole set rocked, I am now a much bigger fan of Alison’s Halo than I was prior.
Panchiko
At this point, it’s 9:45 PM and I can hear the complaints of feet aches and back aches, myself included.
Venue employees are handing back water, conversing with the crowd, who are in anticipation and awaiting. Crew members are fast paced on stage, organizing and setting up instruments.
Finally, the band walked up on stage, took their positions, and opened their set with “Stabilisers for Big Boys,” causing an uproar from the crowd.
All the aches and pains dissipated from my body once they started playing.
Though I was unaccustomed to every song played, being able to hear my favorite songs live and in a new light opened up new perspectives to each song. It was even more fun trying to guess the next song with my friends.
Their set incorporated songs from both their previous albums and their newest album, Ginkgo.
Classics such as “Gwen Everest” and “Untitled Demo – 1997” created uproars from the crowd, mosh pit’s opened up for “D>E>A>T>H>M>E>T>A>L>” and their final song, “Kicking Cars.”
I was pleasantly surprised by the live version of “Ginkgo.” They played around more with the guitar strums in the beginning which added so much more depth to the live song.
Little details such as this are truly what add to an overall unique and intimate concert experience, as hearing the way a song sounds live is a novel experience compared to the studio version.
It’s cool to see a song you love take a different shape through different mediums.
The same can be said for “D>E>A>T>H>M>E>A>T>L>”, they made the ending of the song so big and bold, reminiscent of crashing waves on a beach and the lingering foam that remains once the tide has drawn back in. It really hit me in my head and in my chest.
I felt swept away.
Then, after all of that, we observed the keyboard being set up, which caused an eruption of whispers as to what could be playing next.
My eyes widened when I heard the first two notes of “Laputa”–cheers and claps emerged from the mass.
Having this song and “D>E>A>T>H>M>E>T>A>L” one after the other made for an engaging and interactive moment between the artist and their fans, both sides coming together to experience this song and the feelings it invokes in raw, real time, together. A wonderful moment.
If I were to give the overall experience of Panchiko’s set a word, it would be absorbed.
The feeling of the drums vibrating my bones, the guitar strums and plucks ringing throughout my ear, the visceral feeling of the bass in my skin. I felt so immersed in their performance and the way they interacted with each other subtly.
It speaks so loudly in their silence, the bond they have as a band, and the synchronicity their instruments display.
Something I noted for each band was how they were just jamming out and having a good time on stage.
It wasn’t necessarily performative and showy, but connective and unique. They all had their own vibe they brought to the venue, when put all together, it flowed very nicely and was great for whetting the anticipation for Panchiko.
All of their individual stage presences melded beautifully together. One of the best things about concerts is the unity each person feels with one another.
No matter who you are, everyone has gathered in this one spot to share an experience with others and with an artist they enjoy.
If you have the means to see them, take the opportunity.
I did a review on their newest album Ginkgo, back in April, you can check it out here!
Words by Jess Eckert. Words and photos by Kenzie Trikouros. If reposting, please credit @almostfamouszine.