Phantogram brings an atmospheric set, precision, and power to SOMA San Diego with Rising Indie Act Sunday 1994 providing support.
Phantogram returned to San Diego with a commanding performance at SOMA, delivering a polished set that underscored their reputation as seasoned purveyors of electronic rock. LA-based opener Sunday 1994 provided a fitting prelude, showcasing their rising potential in the indie-pop scene.
SOMA’s no-frills, industrial venue proved well-suited to the night’s eclectic blend of atmospheric sounds. Sunday 1994 took the stage early, offering a confident and cohesive set that leaned into shimmering synth lines and introspective lyrics. Tracks like “Stained Glass Window” highlight Paige Turner’s sad girl delivery and song styling. “Blossom” showcased the band’s ability to create mood-driven soundscapes, while “Tired Boy” brought an energetic close to their performance, eliciting a warm response from the steadily growing crowd.
Phantogram began their set promptly, opening with the pulsating “Jealousy.” Vocalist and keyboardist Sarah Barthel and guitarist-producer Josh Carter worked in tandem to deliver a meticulously crafted performance, blending live instrumentation with electronic elements in a way that felt seamless. Their sound was rich and layered, yet crisp, with each element occupying its place in the mix.
The duo’s setlist was designed to highlight both their breakout hits and deeper album cuts. Fan favorites such as “Fall in Love” and “Run Run Blood” were delivered with precision, their infectious melodies and driving beats filling the room. Meanwhile, new tracks like “It Wasn’t Meant to Be” allowed for a lighter, more pop detour that showcased the depth of their catalog.
Barthel took a moment mid-set to address the audience, briefly reflecting on the band’s evolution and expressing gratitude. Her comments felt genuine, recalling a shared moment with a fan in the bathroom at Casbah when they were last in San Diego many years ago, but Barthel did not linger, keeping the focus on the music. Carter’s understated guitar work and Barthel’s emotive vocals anchored the performance, with the duo maintaining a steady connection to their audience throughout the evening.
The production was understated but effective, relying on lighting, ranging from almost total darkness, to stark and moody, to blinding strobes to complement the music’s emotional tone. There were few flashy moments, but that seemed intentional, allowing the strength of the songs and the band’s execution to take center stage.
The night culminated in an encore featuring “Glowing,” “You Don’t Get Me High Anymore,” and “When I’m Small,” a track that has long been a staple of Phantogram’s live sets. The driving rhythm and memorable refrain provided an energetic closing note, leaving the audience satisfied but not overwhelmed.
Sunday 1994, though still an emerging act, proved a strong opener, hinting at their potential to reach larger audiences. Phantogram, meanwhile, delivered a performance that was both professional and impactful, reaffirming their place as a reliable force in the electronic rock landscape.Overall, the evening was a testament to the enduring appeal of live music at SOMA, a venue that continues to host acts capable of captivating San Diego’s music-loving crowd.
