District Music Hall Weekly Round up: 5 shows announced including Soccer Mommy

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District Music Hall Weekly Round up: 5 shows announced, including Soccer Mommy

District Music Hall announced Phantogram, Stop Making Sense, Soccer Mommy, Life of Agony and Panchiko this week. Tickets are on sale now at districtmusichall.com

Phantogram
District Music Hall – 71 Wall Street, Norwalk CT 06850
September 10, 2025
Tickets are on sale now via districtmusichall.com

Phantogram

Lauded as an experimental and alternative band and one that’s never been married to a particular genre, Phantogram – comprised of lifelong friends Josh Carter and Sarah Barthel – have continued to change the zeitgeist for almost a decade by consistently challenging it with their signature blend of hard-hitting beats, guitar driven dark psychedelia and electronic pop. Since the arrival of 2010’s debut release, Eyelid Movies, the duo has amassed over a billion streams, achieved one platinum-certified single, two gold-certified singles, collaborated with legends such as Tom Morello, Billy Corgan, The Flaming Lips and Miley Cyrus, partnered with Big Boi of Outkast to form supergroup Big Grams, headlined sold out shows worldwide, become a festival staple and toured with artists including Arcade Fire, The xx, Muse, M83, alt-J and more.

Stop Making Sense
District Music Hall – 71 Wall Street, Norwalk CT 06850
September 13, 2025
Tickets are on sale now via districtmusichall.com

Stop Making Sense

Newly restored in 4K to coincide with its 40th anniversary, the 1984 film was directed by renowned filmmaker Jonathan Demme and is considered by critics as the greatest concert film of all time. Starring band members David Byrne, Chris Frantz, Jerry Harrison and Tina Weymouth (along with their incredible touring musicians), the live performance was shot at Hollywood’s Pantages Theater and features Talking Heads’ most memorable songs. The live event will feature a public screening of the re-release and hosted by co-star Jerry Harrison who will deliver introductory remarks, post screening comments and audience Q&A.

Soccer Mommy
District Music Hall – 71 Wall Street, Norwalk CT 06850
September 18, 2025
Tickets are on sale now via districtmusichall.com

Soccer Mommy

Sophie Allison has always written candidly about her life, making Soccer Mommy one of indie rock’s most interesting and beloved artists of the last decade. Allison has used Soccer Mommy’s songs as a vehicle to sort through the thoughts and encounters that inevitably come with the reality of growing up. After all, Soccer Mommy began as a bedroom-to-Bandcamp exercise with teenage Allison posting her plaintive songs as demos. Over the years, though, she has often enhanced that sound, using the endless production possibilities, newly at her fingertips, to outstrip singer-songwriter stereotypes. The records would start with songwriting’s kernels of truth, and she would then imagine all the unexpected shapes they could take. Every Soccer Mommy record has felt like a surprise.

On Soccer Mommy’s fourth album, the tender but resolute Evergreen, Allison is again writing about her life. But that life’s different these days: Since making her previous album, 2022’s Sometimes, Forever, Allison experienced a profound and also very personal loss. New songs emerged from that change, unflinching and sometimes even funny reflections on what she was feeling. (Speaking of funny, this is a Soccer Mommy album, so there’s an ode to Allison’s purple-haired wife in the game Stardew Valley, too.) These songs were, once again, Allison’s way to sort through life, to ground herself. She wanted them to sound that way, too, to feel as true to the demos—raw and relatable, unvarnished and honest—as possible. The songwriting would again lead where the production would follow. Nothing overindulgent, everything real.

Life of Agony
District Music Hall – 71 Wall Street, Norwalk CT 06850
September 21, 2025
Tickets are on sale now via districtmusichall.com

Life of Agony

Life of Agony emerged from the New York music scene in the early ’90s with one of the most distinctive sounds in its genre. Rolling Stone named their 1993 debut “River Runs Red” (Roadrunner Records) as one of the “100 Greatest Metal Albums of All Time. In addition, the album’s lead-off track “This Time” is considered by Rolling Stone as one of the “100 Greatest Metal Songs of All Time.” For over three decades, Life of Agony has shared stages with the biggest names in rock, selling over one million albums to date, and building a die-hard, cult following in the process.

In 2022, the group’s critically acclaimed music documentary “The Sound of Scars” was presented at the BFI Flare Film Festival, who praised it as “A truly powerful watch.” Kerrang gave it a 5-star review and called it ”Unflinching”. Mainstream outlets such as CNN, Psychology Today, and BBC, considered it “a must watch” and featured it on their platforms. The Sound of Scars is streaming worldwide now.

Most recently, in 2024, Life of Agony released a new song titled “The Crow (In Memory of B.L.)” as a tribute to the late Brandon Lee, who tragically lost his life filming the original 1994 film. Revolver Magazine named it as “one of the best new songs right now” and hailed the track as “a stunning new song… a gorgeous, grunge-goth elegy”. The music video is streaming here >

“There’s something very special about the original Crow that made it timeless, and there’s a reason that it resonated with us as kids,” LOA bassist Alan Robert commented. “It was an absolute tragedy… Brandon Lee was killed the year we did our first album River Runs Red, and by the time The Crow came out in ’94, he was already a legend. Brandon completely embodied the role, made it iconic, and lost his life in the process. It was just so incredibly sad and affected us deeply. He was such a charismatic character and in the very beginning stages of his career. Director Alex Proyas captured lightning in a bottle.”

Guitarist Joey Zampella added: “We thought that creating a song and a sound that would seamlessly fit on the original soundtrack and film would be a perfect way to honor Brandon and his legacy.”

With six studio albums under its belt, including “River Runs Red”, “Ugly“, “Soul Searching Sun“, “Broken Valley“, “A Place Where There’s No More Pain”, and “The Sound of Scars”, the future is bright for the Brooklyn-based quartet. Life of Agony’s last album was named Album Of The Year by The Aquarian and the #1 Album on Metal Hammer’s (DE) ‘Best of 2019’: Alternative-Rock/Punk List. “By far, this is the best Life of Agony record you’ve heard in years,” explains guitarist Joey Z. “We really went back to our roots on this one and tapped into the mindset we had when we first started the band.” The group filmed a chaotic, high-energy video for lead-off track ‘Scars’ with director Leigh Brooks of Firebelly Films.

Panchiko
District Music Hall – 71 Wall Street, Norwalk CT 06850
September 27, 2025
Tickets are on sale now via districtmusichall.com

Panchiko

Panchiko is beginning to settle into rockstar life. It’s different from how the UK band imagined it when they were teens, crafting ethereal, at times cosmic bits of heart-forward rock music to little outside interest, playing shows to nearly empty rooms. They set aside their hopes of becoming full-time musicians and pursued other careers. Their high school artistry became a distant memory. But that all changed in 2016 when an internet user discovered Panchiko’s discarded 2000 demo CD, D>E>A>T>H>M>E>T>A>L, in a Nottingham charity shop and posted it to 4chan to intrigue and fanfare. It took four years for Panchiko’s legions of dedicated fans to find the people behind the music, but when they did, Panchiko’s long let-go-of dreams became an imperative to pursue. Millions of curious listeners were swaying to their adolescent creations; it was time for them to meet their moment.

Panchiko — which reformed in 2021 with original members Andy Wright (keyboardist and producer), Owain Davies (vocalist and guitarist), and Shaun Ferreday (bassist) alongside new members Robert Harris (guitarist) and John Schofield (drummer) — pursued their new path with vigor. Upon discovering their own virality in 2020, they toured the world and wrote, recorded, and released their first album in 20+ years, 2023’s Failed At Maths. But after the thrill of the whirlwind came a new question. What comes next when your dreams come true? The answer is Ginkgo, a 13-track project that finds the band making some of their most introspective, cinematic, and moving music yet.

“The whole production has gone up ten-fold,” says Wright of the new album. They were finally able to quit their day jobs and dedicate themselves to music full-time, which changed their process completely. “If you have a bit of time, you can make something really great.” Plus, the band got their own studio in Nottingham, which they refer to as their “teenage dream.” With time and space, making Ginkgo became a very different, slower process than the creation of Failed at Maths, which they recorded while balancing their nascent music career with day jobs — alongside the stuff of life, like the birth of Wright’s child.

You can hear the result of this slower approach on tracks like “Chapel of Salt,” where the lyrics have a gravelly wisdom. “Obsolescence, greatest lessons/ You can’t afford to miss/Don’t go quietly in the night see/You’re too good for this,” sings Davies in a steady register, before the music veers towards the stars. Here too, the music feels bigger than Panchiko’s earlier work which was colored by a bedroom intimacy. The sonic and lyrical scale is grander, but maybe a bit more weary and lived-in as well.

The lessons of experience were on the band’s mind. After touring the world with songs they had written as teenagers, Panchiko was beginning to craft music that reflected their current, more adult reality, like on “Lifestyle Trainers,” a drifty swirl of guitar plucks and synth pads that finds the band reflecting on the winding road of long term commitment. But even as Panchiko explored the particulars of middle age, the teenage versions of themselves (the versions that wrote D>E>A>T>H>M>E>T>A>L) were still floating in their minds, especially given the fact that Panchiko’s fans skew younger themselves. That’s clear on album standout “Shandy In The Graveyard” (featuring billy woods) which Davies shares “came from [him] reconnecting with the feeling of being the age of the audience that comes to see [them].” That youthful spirit can be felt in the song’s sonic world, as its production genre shifts between trip-hop and orchestral folk.

Woods’s inclusion is fitting given that American artists and the experience of touring throughout the States has made an indelible impression on Ginkgo. Most of Panchiko’s fans reside in the States, a place they had little connection to before their virality. “We don’t normally do a lot of shows in England, because nobody likes us there,” jokes Wright. “We were too ahead of the time.” Seeing the expanse of a foreign country brought out new sounds and textures for the crew. It’s apt then that the album opener is titled “Florida.” “I was playing around with some samples in the van whilst we were driving through Florida,” remembers Davies of creating the track. “Writing on the road is cool because you don’t have all the toys in your toy box. You’re using what you got.” That makes sense given that “Florida” is marked by a diverse set of sounds and musical leaps, a vast landscape of guitar flourishes, and almost alien sonic textures.

New places, a new generation of listeners, a whole new life — the shock of their circumstances often leads Panchiko to reflect on the youth they’ve lost since they recorded their high school demo. “We had to delete ‘My Mortgage Repayments Are Going Up,’” laughs Wright, offering a sarcastic song title. And while they decidedly did not record an album about the tedium of adult living, they did make a record that truthfully reflects their grounded station in life. That was bolstered by the fact that Panchiko made the record largely at home in Nottingham. With that, the simple promises of home are evoked in every moment of the record, and on the cover — a picture of Wright’s young daughter that she took herself. “She had just turned two at that point. She ran off with my phone and our album cover was done,” Wright shares. Even though they paid an artist a hefty advance to make original artwork, they decided to forgo that art for the picture. It said it all. “It’s pure,” adds Davies. “It’s not contrived in any way.”

The cover is an invitation to consider the expanse of Panchiko’s experience, from adolescence and teenage artistry onward. The same wrenching honesty that attracted legions of fans to their teenage demos is the same truthful ethos that keeps them listening to new material. That full-hearted ethos may be most audible on the title track, “Ginkgo.” On it, Davies sings “You command the leaves to fall/The Ginkgo bends at will.” A rumination on the limits of control, collaboration, and fate, the song is an apt meditation for a band whose resurgence came about through a mix of luck, artistry, and then clear-eyed energy. They couldn’t “command the leaves to fall” when they were teens trudging up the improbable hill of rock star success, and they still can’t. But like the Ginkgo tree itself, their roots grow deep, which makes the going all the easier.

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