By 2013, Blondie had long since transcended the idea of being just a “New Wave band.” They had become a living institution—part punk, part pop, part art project, and all attitude. So when Debbie Harry and company rolled into the Keswick Theatre in Glenside, Pennsylvania, that October night, the energy was electric even before the first note hit. Fans from every era—’70s punks, ’80s synth lovers, and a wave of younger fans discovering Blondie’s catalog through pop culture—filled the intimate venue. What they got wasn’t a nostalgia act. It was Blondie proving they were still evolving, still defiant, and still a force of nature.
The Opening Surge
The show kicked off with “One Way or Another,” and the crowd was instantly on its feet. That guitar riff still cuts through like a blade, and Debbie Harry—then in her late 60s—delivered it with all the snarl and confidence of her CBGB days. She strutted across the stage, platinum hair glowing under the lights, black sunglasses shielding a sly grin. Her voice, slightly huskier now, lent the song an edge of maturity that only made it more commanding. The audience shouted every “I’m gonna getcha, getcha, getcha, getcha!” with the enthusiasm of a stadium show.
Without pause, they dove straight into “Rave,” one of their newer songs from the Ghosts of Download sessions. It was a clear signal that Blondie wasn’t content to coast on past glories. The track’s electronic pulse, mixed with Chris Stein’s guitar textures, felt like a futuristic update to the Blondie sound—proof that they still had an ear for what’s next.
The momentum continued with “Hanging on the Telephone.” Though technically a cover (originally by The Nerves), it’s long been owned by Blondie in spirit. Harry leaned into the frantic energy of the song, spinning the phone call desperation into a kinetic blast of rock energy. The band was locked in tight—Clem Burke’s drumming was explosive, propelling the song with that signature Blondie groove that blurs punk speed with pop polish.
Then came “X Offender,” their very first single from 1976. The crowd roared with recognition. Hearing that song live in 2013 was like stepping into a time warp—dirty, raw, and unapologetic. Harry introduced it with a wink: “This one’s from when we were just little troublemakers.” The song sounded fierce and alive, anchored by that vintage New York attitude that started it all.
The Middle Groove: Mixing Past and Future
One of the best parts of Blondie’s Keswick set was how seamlessly they blended classics with new material. “A Rose by Any Name,” another Ghosts of Download track, brought a dreamy, electronic pulse to the mid-set, with Debbie’s voice floating above synths like a siren in a digital sea. She dedicated it to “all the lovers of all kinds,” a nod to the song’s celebration of fluid identity and love without labels.
From there, they slipped into “The Tide Is High.” The reggae-tinged cover (originally by The Paragons) still had its tropical warmth, and the audience swayed along in unison. Harry’s delivery was relaxed and playful, letting the rhythm breathe. At one point, she held out the mic for the crowd to sing the chorus, and the room filled with smiling voices. It was a moment of pure joy.
Then came one of the night’s hidden gems—“I Want to Drag You Around.” With its hypnotic beat and almost dream-pop sensibility, it showcased Blondie’s willingness to experiment even decades into their career. The sitar-like guitar tone added an exotic shimmer, and Harry, ever the shape-shifter, slid her vocals between seduction and command.
“Winter” followed, slowing things down. The haunting ballad gave the show a cinematic pause—soft lighting, Harry’s voice echoing with melancholy, and a hush falling over the crowd. Even the loudest fans fell silent, caught up in the moment. It was a reminder that Blondie isn’t just about danceable hits; they’ve always had a sense of mood and mystery.
The Party Erupts
Just when things seemed calm, Blondie launched into “Rapture,” and the energy shot back through the roof. It’s still one of the most revolutionary pop songs ever written—part disco, part hip-hop, part space odyssey—and live, it’s a showcase for everything Blondie does best. Harry delivered her rap verses with sly precision, still playful, still sharp, and yes—she nailed every “Fab Five Freddy” line. Midway through, the band slipped into a cheeky outro of the Beastie Boys’ “No Sleep Till Brooklyn,” sending the audience into fits of delight. It was a nod to New York’s hip-hop lineage and Blondie’s role in helping bring it to the mainstream.
“Atomic” followed, and the room absolutely erupted. The driving beat, the laser-like guitar riff, the pulsing bass—it was transcendent. Harry’s vocals soared over the crowd, and the light show behind her turned the Keswick Theatre into a disco-punk cathedral. This was Blondie at their most iconic—cold, sleek, glamorous, and dangerous.
“What I Heard” and “Wipe Off My Sweat” gave fans another taste of their then-new direction. The former pulsed with modern electro-rock swagger, while the latter was sultry and rhythmic, almost reminiscent of Garbage or Goldfrapp. Debbie twirled her mic stand and danced with her tambourine, clearly enjoying every moment. Even the new material felt rooted in Blondie’s DNA—hooks, humor, and heart wrapped in attitude.
Then came “Sugar on the Side,” another highlight from Ghosts of Download. The song’s bilingual lyrics and Latin-inspired rhythms brought the house down. Harry’s command of the stage was magnetic—her movements economical but powerful, her energy unflappable. The song’s fusion of synthpop and worldbeat sounded alive and fresh, showing that Blondie’s creativity had never gone dormant.
And then, of course, came “Heart of Glass.” The opening pulse of the drum machine got an immediate reaction—cheers, camera flashes, and people dancing in the aisles. Harry leaned into the mic with that familiar smirk and sang, “Once I had a love, and it was a gas…” The song was as shimmering and intoxicating as ever, a glittering time capsule of the disco-punk revolution they helped create. But live, it wasn’t just a throwback—it was reborn. The guitars had more crunch, the beat hit harder, and the synths glowed like neon. Blondie managed to make a 1978 hit sound completely alive in 2013.
The Encore: Legends Never Fade
After a short break, the band returned for an encore that sealed the night’s legacy.
They started with “Mile High,” another of their modern tracks. It was pulsing, danceable, and a clear bridge between Blondie’s old and new worlds. Debbie’s vocals carried that signature mix of cool detachment and allure. The crowd, already fully energized, moved like they were in a nightclub rather than a theatre.
Then came “Call Me.” The reaction was instantaneous. The audience roared as the iconic synth riff hit. It was impossible not to shout along. Debbie’s delivery was fierce—no irony, no distance, just pure power. The song felt cinematic, and the crowd sang every line like it was the national anthem of cool.
Finally, they closed with “Dreaming.” It was the perfect ending—hopeful, nostalgic, and beautifully bittersweet. Clem Burke’s drumming was thunderous, reminding everyone why he’s one of the best in the business, while Chris Stein’s guitar shimmered in that familiar Blondie haze. Debbie’s voice carried a touch of wistfulness as she sang, “Dreaming is free.” When the last note faded, she simply smiled, waved, and said, “Don’t stop dreaming, okay?”
The Band and the Mood
The chemistry onstage was palpable. Debbie Harry, Chris Stein, and Clem Burke were joined by a younger generation of musicians who clearly adored the music they were playing. The result was a show that honored Blondie’s past without feeling frozen in it.
Harry’s stage presence remains singular—she’s both untouchable and utterly relatable. She doesn’t have to move much to command attention; every gesture carries weight. Her sense of humor was on full display between songs, cracking jokes about “being older than the amps” and thanking fans for “sticking around this long.”
The production was simple but effective—vibrant lighting, minimal staging, and an emphasis on the band’s performance rather than spectacle. The Keswick’s cozy atmosphere gave it all an intimate feel, like a private show for 1,500 of Blondie’s closest friends.
Setlist Recap
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One Way or Another
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Rave
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Hanging on the Telephone (The Nerves cover)
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X Offender
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A Rose by Any Name
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The Tide Is High (The Paragons cover)
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I Want to Drag You Around
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Winter
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Rapture (with “No Sleep Till Brooklyn” outro)
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Atomic
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What I Heard
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Wipe Off My Sweat
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Sugar on the Side
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Heart of Glass
Encore:
15. Mile High
16. Call Me
17. Dreaming
Final Thoughts
Blondie’s 2013 Keswick Theatre show wasn’t a museum piece—it was a masterclass in reinvention. The band sounded tight, vital, and hungry. Debbie Harry proved that charisma doesn’t fade with age—it evolves. Her voice, her poise, and her authenticity carried the night, while the setlist struck the perfect balance between classic hits and forward-thinking new material.
What made the performance so memorable wasn’t just nostalgia—it was connection. Blondie didn’t just remind fans of who they were; they showed who they still are. Punk roots, disco shimmer, electronic evolution—it’s all part of the same beautiful collage.
As the crowd poured out into the cool October night, still humming “Dreaming,” one thing was clear: Blondie’s legacy isn’t just about what they did decades ago. It’s about how they continue to do it—fearlessly, stylishly, and without apology.
Grade: A-