Boston Calling is always a highlight of the festival season, but this year’s Saturday night set from Cage the Elephant felt like a lightning bolt. Taking the Red Stage at the Harvard Athletic Complex, the Kentucky-born rockers delivered a performance that was part punk energy, part psychedelic freakout, and part emotional therapy session. I went in expecting a tight set of hits and maybe a few new tunes; I left convinced that Cage is one of the most electrifying live bands of their generation.
From the moment the lights dropped and the first distorted bass notes of “Broken Boy” kicked in, the crowd surged forward as one. Matt Shultz appeared in his usual mix of thrift-store chic and glam-punk flair—half preacher, half mad scientist—and instantly owned the stage. He barked and howled through the song’s jagged groove, twisting his body like a man possessed. The rest of the band—guitarists Brad Shultz and Nick Bockrath, bassist Daniel Tichenor, drummer Jared Champion, and multi-instrumentalist Matthan Minster—locked into a snarling groove that set the tone for the night: raw, urgent, and unafraid of chaos.
Early Explosions
Without pause, they tore into “Cry Baby,” a fan favorite that had the massive festival crowd singing every word. Matt prowled the edge of the stage, leaning into the front rows as if daring the audience to scream louder. Brad’s guitar work added a ragged, bluesy edge that kept the song teetering on the brink of collapse in the best way.
The high energy continued with “Spiderhead,” a track that perfectly captures Cage’s ability to blend grunge grit with pop smarts. Jared Champion’s drumming was a force of nature, pushing the song forward while Matt danced like a man shaking off demons. The audience responded in kind—jumping, shouting, and creating mini-mosh pits across the field.
“Too Late to Say Goodbye” offered a slight breather, but even their slower songs carry an emotional intensity that feels combustible. Matt’s vocals dripped with vulnerability as he delivered the heartbreak-heavy chorus, while the band kept the arrangement tight and moody.
A Good Time to Get Weird
Then came “Good Time,” a newer track that showed Cage still has tricks up their sleeves. It’s a swaggering, almost funky tune with a hypnotic bassline that gave the crowd a new groove to latch onto. Daniel Tichenor’s bass work was particularly tasty here, laying down a pulsing rhythm that got heads bobbing from the barricade to the back.
“Cold Cold Cold” followed, and the shift in atmosphere was striking. The song’s dark, cabaret-like vibe felt like a carnival gone wrong, with Minster’s keys adding eerie textures. Matt stalked the stage in a slow, deliberate dance, his delivery a mix of menace and melancholy. It was one of the night’s most theatrical moments.
The tension broke as the opening chords of “Ready to Let Go” rang out. The crowd erupted, belting the chorus back at the band with cathartic abandon. This song might be Cage’s most perfectly crafted festival anthem—catchy, emotional, and tailor-made for a massive singalong. Brad and Nick’s interlocking guitar lines gave it a jangly brightness that cut through the dusk.
New Sounds, Old Favorites
Fans were eager to hear material from the band’s latest album, and “Neon Pill” delivered. The track has a shimmering, psychedelic edge that felt tailor-made for the festival’s colorful lighting rig. Matt’s vocals floated over the groove, at once vulnerable and commanding. It was a reminder that Cage isn’t content to just replay their hits—they’re still pushing their sound in new directions.
Of course, they weren’t about to ignore their established classics. “Social Cues” hit like a shot of adrenaline, its driving beat and soaring chorus sending waves of motion through the crowd. The band’s chemistry was undeniable; even in the middle of a massive festival set, they played with the tightness of a garage band and the confidence of seasoned pros.
Then came “Trouble,” one of the band’s most beloved songs. The crowd sang the “Trouble on my left, trouble on my right” refrain so loudly it nearly drowned out Matt’s vocals. He leaned into the microphone with a sly smile, letting the audience take over entire lines while he danced across the stage.
“Telescope” provided a more introspective moment. The song’s dreamy, spaced-out vibe gave everyone a chance to catch their breath while still swaying to the hypnotic groove. Brad’s guitar effects created an almost liquid soundscape, and Matt’s falsetto floated like smoke over the complex rhythm.
The Home Stretch
As soon as the first notes of “Ain’t No Rest for the Wicked” rang out, the crowd went absolutely ballistic. This is the song that introduced Cage to the world back in 2008, and it still slaps as hard as ever. The funky, talking-blues groove had everyone dancing, from longtime fans to festival newbies who only knew the chorus. Matt delivered the rapid-fire lyrics with a mischievous grin, clearly relishing the audience’s ecstatic reaction.
The momentum only built with “Come a Little Closer,” which might be the purest distillation of the band’s melodic gifts. The crowd’s singalong on the “Come a little closer, then you’ll see” refrain was deafening, creating one of those goosebump-inducing festival moments where thousands of voices merge into one.
For the closer, they chose the bittersweet beauty of “Cigarette Daydreams.” The field lit up with cell phone lights as Matt stepped to the mic with a more subdued energy. His heartfelt vocals floated over a delicate arrangement, bringing a night of wild highs to a gentle, emotional close. It was a perfect ending—intimate yet communal, a reminder that beneath the chaos and noise, Cage the Elephant’s music is about connection.
The Setlist
For those keeping track, here’s how the evening unfolded:
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Broken Boy
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Cry Baby
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Spiderhead
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Too Late to Say Goodbye
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Good Time
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Cold Cold Cold
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Ready to Let Go
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Neon Pill
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Social Cues
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Trouble
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Telescope
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Ain’t No Rest for the Wicked
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Come a Little Closer
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Cigarette Daydreams
Final Thoughts
Leaving the Harvard Athletic Complex, I couldn’t stop replaying the set in my head. Cage the Elephant has always been a band of contradictions—wild yet precise, heavy yet melodic, cynical yet hopeful—and this Boston Calling performance captured all of it. They’re seasoned enough to deliver a polished show but restless enough to keep it unpredictable.
Matt Shultz remains one of rock’s most captivating frontmen. He doesn’t just sing songs; he inhabits them, bending his body and voice into whatever shape the moment demands. Whether he’s screaming through a feedback-drenched chorus or whispering a delicate ballad, he commands attention without ever seeming calculated.
The band behind him is equally impressive. Brad Shultz and Nick Bockrath’s guitars create a dense but nimble wall of sound, shifting from garage-rock crunch to psychedelic shimmer with ease. Daniel Tichenor’s bass anchors the chaos, while Jared Champion’s drumming drives everything forward with both power and finesse. Matthan Minster adds color with keys and backing vocals, fleshing out the arrangements without ever crowding the mix.
What struck me most was the sense of joy that radiated from the stage. Even in their darker songs, there’s a feeling of release—of finding freedom in noise and melody. In a festival setting, that joy is contagious. Strangers danced together, shouted lyrics into the night, and shared in the communal catharsis that only a great rock show can provide.
Cage the Elephant may have started as scrappy Southern rockers with a knack for catchy riffs, but they’ve evolved into one of the most compelling live acts around. At Boston Calling 2025, they didn’t just play a set; they created a world where chaos and beauty coexist, where heartbreak becomes celebration, and where every song feels like both a confession and an invitation. For ninety minutes on a cool May night, they reminded us why live music matters—and why Cage the Elephant is still a band worth following wherever they go.