When Mannequin Pussy announced a US tour for their album I Got Heaven in January, I knew I had to go. That became even clearer when I saw they were going to be playing in my hometown of Madison, Wisconsin–not just giving me an excuse to go home, but also to rope my indie-loving twin into it, too.
After using this show as fuel to keep trucking through my hellish spring semester, May 8 finally came. One awkward dinner at an eerily empty vegan restaurant later, we meandered from one end of downtown Madison to another to get in line an hour and a half before doors. This was to ensure that I had plenty of time to deal with credentials-related stress, but it turned out to be essential to gaining a prime location in general admission.
Once I got through the doors, I found Majestic Theatre to be beautiful but small. Those in general admission could stand right against the stage, no barricade. After tucking myself in a prime spot right in front of the stage, I looked up and saw a large seated balcony. As more attendees filed in, the venue bumped party music, including “Crazy Frog” by Axel F (reminding me of our March interview with Between Friends).
Soul Glo put on an opening-act masterclass. Frontman Pierce Jordan captivated the audience. Even if he wasn’t making eye contact with me, it felt as if he was speaking right to me. Jordan also jumped into the audience in the middle of the set, providing enough chaos to get the crowd on board.
I will say, Soul Glo appealed more to the tried-and-true punks in attendance. I could tell some audience members either weren’t acquainted with their work, or don’t like Mannequin Pussy for their hardcore influences. This was further demonstrated by the mostly white audience, which Jordan didn’t shy away from acknowledging. He went out of his way to shout out “the three n—” in attendance.
Either way, Soul Glo left an impact. Many, including my sibling, left their set saying “I need to listen to them.”
Mannequin Pussy had an I Got Heaven-heavy setlist, which made sense, but left me feeling like I should have studied before I came to the show. They set the tone with “I Don’t Know You,” then going straight into “Sometimes” and “Nothing Like” — 3 out of 4 singles right off the bat.
The opening riff of “Patience” sent a buzz through the crowd, and that energy was carried into “Drunk II” and “Control.” The audience screamed along to every word, all venting together.
As we got into the middle of the set, a couple observations came to mind. One, while my spot in the audience was great for taking photos, the audio mix I experienced left something to be desired. It was hard for me to make out any of the vocals unless Missy (AKA Marisa Dabice) was belting, making it difficult to follow along to the less-familiar songs.
Secondly, between songs, some audience members felt the need to shout “Missy, you’re so hot!” These interjections made me uncomfortable, as they miss the point of everything this band stands for. Cat-calling the woman who named her band Mannequin Pussy to confront how femininity has been sexualized to the point where it’s censored on just about every platform–including Impact’s catalog–is certainly a choice. It reminded me of when bedroom pop artist Clario heard similar remarks from the crowd while performing her song “Blouse,” which is, ironically, about being objectified.
Missy’s speech before “I Got Heaven” foreshadowed a longer moment she took during the latter half of the set. She addressed the elephant in the room: these songs evoke discomfort in those who have become comfortable with oppression. Missy then asked the audience to join in a group scream, with the intention to help to remove the pit we all have in our stomachs from the current state of the world; the anger we’ve been forced to suppress. The point of coming to a Mannequin Pussy show, she expressed, is to experience a release. Having felt the energy of the crowd during their set–and seeing how this tour is now completely sold out–I wholeheartedly agree.
Bassist Bear then took the mic, switching places with Missy for the song “Pigs Is Pigs.” “Romantic” served as a great closer. Everyone knows it, so everyone sang along, but it’s not one of those tracks that’s so popular it’s lifeless. It injected early-in-the-set energy into the crowd and gave me a feeling I haven’t experienced from a concert before. Typically, shows have left me feeling drained, like I can’t listen to the genre for a few days after. Instead, Mannequin Pussy left me wanting more.
If given the chance, I would love to go to another concert for both Soul Glo and Mannequin Pussy. While my experience watching them at Majestic was extraordinary, I would love to get a second chance in a different part of the venue, so I can get an even fuller connection to the music.
