Backhand, HDM, Olympic Deth, Snõõper @ Kilby Court 07.24.2026

At Kilby Court, a lucky few beheld local legends in Olympic Deth, Backhand, Happy Death Men, and Snõõper all brought their unique blends of punk and rock. Photo courtesy: @harper.jpg

Image: @harper.jpg

Concert

While some of Utah was celebrating Pioneer Day (others Pie and Beer day), others still were in attendance at what, in my opinion, is likely to be not only MY show of the year but very possibly THE show of the year. At Kilby Court, a select and lucky few beheld local legends in Olympic Deth and Backhand, the most active band you may ever see in Oregon’s own Happy Death Men, and Third Man Records signees, Nashville-based Snõõper all brought their unique blends of alternative, punk and rock music to Salt Lake City’s iconic venue.

Olympic Deth opened the evening, beginning their set with “Oklahoma PEACE,” the first single from the group’s latest record Peace Album. The Utah super group, composed of members from other local bands Starr 67 and Infinite Coachella, members Eli Andersen and Tate Grimshaw delivered screaming guitars, Jerik VanPatten delivered grooves full of break-beat style clipping through the drums, and Foster Miller supplied basslines like you’ve never heard before. The way that Olympic Deth can play with listeners’ expectations, seizing control over the rhythm and melody of each of their tracks is something really special to have in our local music climate. The group uses their music the way Indiana Jones uses his whip, like an essential tool, something that always works regardless of the context of its use. For anyone unfamiliar with the group, I’d recommend tracks “Oklahoma PEACE” and “Tesseract” from Peace Album, and “Total Child Kid” from Nevada Homeslice.

Up next was Backhand, the self-proclaimed “team of winners,” delivered the aura and hype that’s synonymous with their live shows. Vocalist Ben Owens proclaimed that it was a “shaka kinda night” and ensured that everyone had a place to enjoy the show. Fans in attendance said, “They are so electric they can get anyone into a pit like no other band I’ve ever seen. There’s a reason people in the know are driving miles and miles from other states to come and see their shows.” The Owens trio of Ben, Jake and Mitch, along with drummer Matt Timmons played fan favorites from the group’s catalog such as “Your House and Mine,” “Automatic” and “Be Nice ‘Cause,” as well as a cover of DEVO’s “Uncontrollable Urge.” Backhand is always capable of filling a space with an energy that is unlike anything you’ve ever felt. It could turn the meekest concert goer into the most ferocious and experienced member of the moshpit.

The first of the shows out of state acts was Happy Death Men, a trio that brings audiences an unbelievable display of stamina and vigor alongside their performances. The group’s lead singer, Cash Miranda, attaches both of his arms to his sides with duct tape due to a prior history of shoulder dislocation while performing. Javi Flores and Sam Learn provide the sonic backing, with their bass and drum parts respectively, ensuring that Miranda, while using a wireless microphone, guarantees that every attendee leaves knowing who Happy Death Men are with his boundless physical energy and vocal performances. Those who are nearer to the stage are able to hear the nasty, scuzzy and loud (complimentary) instrumentals that complete the Salem, OR based band’s live shows. When you see Happy Death Men, they see just as much of you. And they let you know. Using not just the stage, but the audience, the venue, and very nearly the property lines of Kilby Court tonight — Miranda ensured that everyone watching was aware of where, what, and who Happy Death Men are. To get familiar with the band, I’d recommend Crybaby and Dancing with the Lights Off from their self-titled album as well as Fistfight with Our Grandpa in Salt Lake City from a split EP the band released with another Oregon-based DIY group, Keddies Resort.

Last but not least, closing out the evening was Tennessee’s own Snõõper. Everyone’s favorite egg-punks with all of the same hype, volume and attention demanding movement as each band before them. Lead singer Blair Tramel shares catchy, ear-worm lyrics with a deeper message on tracks like “Company Car,” while Connor Cummins and co support with focussed electric guitar and plucky electronics as well as steady basslines and some of my favorite drums to come out of the genre in recent memory – hearing Snõõper perform so many of my favorite tracks from both of their available albums with such fervor is going to be a concert highlight of mine for the year. Earning their place as the main attraction of the night’s performers, I firmly believe Snõõper is a group that will continue to grow their fanbase, expand their sonic palette, and bring the quirky, experimental blend of punk and electronics to new heights and I’m very excited to be following closely while they do. I’d encourage the uninitiated to queue Opt Out and their really cool cover of The Beatles legendary song “Come Together” from the groups latest LP Worldwide, as well as the tracks “Running” and “Xerox” from their first release Super Snõõper.