Written and photographed by: Killian O’Neil
I made it just in time for the last opening band. Typically, I’m not late — I love openers — but parking around the Fillmore is tricky these days. The band playing was called Yoke Lore, and they were unlike anything I’ve seen before. When I say that, I mean it.
The one-man band is actually a solo artist named Adrian Galvin. His energy was off the charts, hopping around the stage and playing the hell out of his banjo. The music was catchy and intriguing enough to keep me around for the entire set — which is rare. His vocals are completely unique — eclectic and impossible to compare to anyone else. His tone is melodic, with a hint of folk and a whole lot of butter. I can’t wait to see what else he releases.
Then, it was time for Jack’s Mannequin. I was also photographing the show, so I headed to the photo pit. Standing side stage, I took a moment to take it all in. It was a sold-out crowd, and Andrew McMahon was making every emo millennial’s dream come true. I felt my eyes welling up just being there — witnessing something I never thought I’d get to see. It takes a special kind of artist to evoke the kind of emotion that Andrew does. He touches people’s lives with his music in a way that very few can.
It was the 20th anniversary of Everything in Transit.
For those who don’t know, Everything in Transit is easily one of the top 10 alt/pop-rock albums of the late 2000s. There’s something so raw and real about music from that era, and this album is no exception. I truly never thought I’d get to witness this live, especially after the band broke up in fall 2012. But here we are — reliving the angst of our teenage years, singing the lyrics that got us through our darkest days.
The lights went down. Blue spotlights lit up the stage as Andrew skipped out, joined by the rest of the band. His signature piano sat center stage. The band setup featured three platforms — one each for the guitarist, bassist and drummer — with an LED screen behind them flashing changing visuals throughout the show.
As the intro video began to roll, I found myself tearing up again. The show opened with a heartfelt message — a thank-you to the fans, a reflection on Everything in Transit, and a look at Andrew’s cancer journey and the healing that’s come through this tour. He said, “I want to feel something tonight.” And we did.
“Swim” played as waves rippled across the stage’s LED backdrop.
“Kill the Messenger” followed, paired with a slideshow of old tour photos. Andrew jumped up from his piano and danced across the stage as red, green and blue lights lit up each platform. It was a moment that felt both nostalgic and electrifying.
The crowd was a true mix — all ages, families and kids — which Andrew acknowledged mid-show. He shared how surreal it is to be reliving these songs after so many years.
About halfway through, the show paused for a medical emergency in the crowd. Andrew stopped everything and didn’t resume until the person was OK, reminding the audience, “The number one thing is to take care of each other.”
Later in the set, Andrew talked about how some of the most fun he’s had on this tour is performing songs that never made it onto Everything in Transit. He introduced “Cellphone,” which originally ended up on the Glass Passenger EP, and spoke about his battles with record labels — a segue into a blistering rendition of “Release Me,” complete with an incredible guitar solo.
During “Resolution,” I found myself crying again. Andrew was so deeply keyed into the crowd — interacting, connecting. He talked about what it means to “make meaning out of chaos” — a theme that resonated deeply with not only myself but the entire crowd.
And then… he climbed onto a giant inflatable rubber duck.
As soon as the duck came out, a wave of childlike play rippled across the venue. Laughter and smiles broke out in every direction. It was one of those rare moments where everyone — no matter their age or past — was fully present, lost in the now.
He ended “La La Lie” by jumping on top of his piano, of course.
Then came “Dark Blue,” and the band left the stage.
The encore began with another video diary — clips of Jack’s Mannequin reflecting on their journey. The LED screen displayed old footage: tour moments, scenes that appeared to show Andrew during cancer treatment and intimate snippets capturing the band’s evolution over the years. It felt like watching a scrapbook come to life — raw, emotional and full of gratitude.
He closed the night with “You Can Breathe,” telling us that this has always been one of his favorite cities to play — and that we always show up for him.
As those words came from his mouth, the only thing I could think was — of course Philly shows up for him. His music has always shown up for each and every one of us.
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