The Heavy-Hitting Performances of Kilby Block Party 7

What a time to be alive, am I right? Through skin-crackling heat and packed TRAX carts sardine-style, Kilby Block Party brought its “show must go on” mentality and thousands of festival-goers joined in. And boy, was it a party? Insane live performances, delicious food, silent disco (to escape from the sun blisters) and above all, good company to share the moment with. By this time next year, we’ll be ready for the bigger star-studded lineup, but for now, let’s enjoy the performances that made us think, “last night was a movie.”

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Friday, May 15th

Gonk

You know you’re in for a treat when teenage boys are running to the next set. And a treat Gonk was — the soft punk rock band brought all of their usual adolescent sentimentalities to their show. As one of the very first showings of this year’s Kilby Block Party, they sure led off with a bang. Their loud yet comforting sound evaded the air, while the mosh pit was whirlpooling to oblivion. The thrashing of the instruments played by this four piece band stood to amaze the modestly large crowd. Each band member wore a coordinating color with a baby bonnet that matches their branding. Their branding, by the way, is impeccable — they had big ass blocks like the ones in Toy Story spelling out their name and little plush toys of their mascot to sell as merch. Overall, this was an incredible welcome to this long weekend. I would watch this set all over again. —Marzia Thomas

 

Nadezhda

It’s with a heavy heart and the guiltiest of consciences that I must admit that I didn’t attend March’s Localized showcasing Macana, Gracemaker and Nedezhda (burning the midnight oil, per usual). So seeing these hardcore haymakers in fine print on the KBP7 poster, I couldn’t miss this chance again. While microdosing heat stroke and reaching my buzzing peak after two mini-bottle bunions of Buffalo Trace, I will finally say that the performance was a religious experience. Brighton Ballard’s shockwave screech rattles your ribcage like a skeletal xylophone, as synthetic shreds from Derek Ballard and Kai Cox sounded like hardcore has merged with alien technology. Through the neck-breaking bangs and abrasive booms, I start to look around at the crowd realizing that Nedezhda is for everyone. There were checker-coded gals ska-kicking in the corner, next to two wizards and a well-tiddied railroad worker. In the most harmonious of ways, though, the screen behind the band strobed big blocky letters enlighting, “NO WAR BUT A CLASS WAR.” Our future is destined for a revolution and Nedezhda will ring the final bell. —Alton Barnhart

 

Wombo

Wombo is hard to explain to people. Between their goofy name (a bastardized reference to SpongeBob) and their experimental, art-pop-meets-garage-rock sound, you kind of have to hear them to understand. But this ineffability puts them among the bands I find most interesting right now, and there are Wombo tracks I would pit against the best of mainstream indie. This is all to say Wombo was among the bands I was most excited to find in the small print of the KBP7 poster, so I tore myself from Gelli Haha early on Friday to secure a good spot at Lake Stage. The three-piece entered in front of a bouncing screensaver of the cover of their 2025 album, Danger in Fives, and kicked things off with “In Situ.” Their live sound was far less chasmic and dreamy than their records, but this gave Sydney Chadwick‘s gorgeous, airy voice greater prominence and permitted Cameron Lowe‘s crunchy, inventive guitar licks to stand out. Additionally, the band’s impeccable live rhythms proved that Wombo isn’t one of those groups whose skill is manufactured in post. I expected them to favor their newest record, but was pleasantly surprised when they threw in a few great songs like “One of These” off 2022’s Fairy Rust. Sadly, they mostly neglected 2020’s Blossomlooksdownuponus, but Wombo’s performance was still everything I’d been hoping for. —Joe Roberts

 

Ritt Momney

I can still distantly hear Ritt Momney’s first EP, “Young Adult” playing in the background of my high school life. Since then, Jack Rutter has found serious musical strengths in a uniquely raw, spacey, bedroom pop format. The touring album, “BASE” seems to be closest to what the artist’s final form might be, possibly the launch “base” for a fresh space rock blast-off. Jack Rutter is finding his truest voice by getting creative on the keyboard, with dreamy, synthy and somehow nostalgically futuristic sounds and pitchy vocals. Mercury joins Ritt Momney onstage to sing “GUNNA,” which feels like a space-age power ballad. Repeating lyrics “I’ll make something happen” are sung like a galactic spell of sorts by Mercury’s front runner, Maddie Kerr. The last bit of “RIGHTBACK” showcases Ritt Momney’s drummer Rick West and guitarist Chris Peranich’s incredible ability to make the sound system “punch” the crowd in the best way possible, pushing bass vibrations to the max. “CAT” is the most lyrically hard-hitting song on the album, as it suggests themes of vulnerability, power and grief through symbols of cat and mouse. Optimistic, sunny energy is apparent in the crowd on the bright blue afternoon at the Kilby Stage, and it’s clear Ritt Momney’s static starry arrangements from another planet are here to stay, and Rutter will only keep growing into his impeccable tastes. —India Mendoza

 

Snail Mail

Here’s an incendiary opinion I’ve held for years: Snail Mail deserves to be every bit as popular as boygenius and its constituent members. Across three studio albums — most recently 2026’s transcendent Ricochet — Lindsey Erin Jordan has brought the same sad girl candor, dulcet vocals and moody introspection that earned her contemporaries international fame. Jordan, who started this project at 15 and is still infuriatingly young for someone so talented, took the stage with her band amidst loud cheers from the gathered crowd and launched into “Tractor Beam.” For the whole first half of the set, the group exclusively played songs off Ricochet. The climax came when Jordan paused to say, “I think this is the best song on the new record,” and then played “Reverie,” one of her most intimate ballads. The group then treated us to flawless renditions of a few older tracks like “Glory” and “Valentine” (my personal favorite) before reaching all the way back to their first album to close with “Anytime.” After seeing Snail Mail live, I’m more convinced than ever that they’re tragically underrated. And whatever else is true, Snail Mail’s set was the best possible way to detox from Show Me the Body‘s mosh pit. —Joe Roberts

 

Beach Bunny

I had no real comparison when it came to hearing Beach Bunny for the first time. They had the same angsty spunk as any female-fronted high school punk trio, especially with their middle finger to gender roles and approval-seeking with their hit “Prom Queen.” However, hearing them live and loud makes complete sense! Their energetic razzle-dazzle was perfect for the festival stage. And when I was able to weasel my way through the VIP section, I could easily appreciate their rock sampling when I was so close, I could kiss their drumkit. Through heavy garage rock cruisers and nearly mosh pit thwomps, their set concluded with the highly-anticipated “Prom Queen.” Although it felt out-of-tuned by the first chorus, I still enjoyed every moment of it! Now if you excuse me, I’m going to pass out on a spare couch in the VIP lounge… —Alton Barnhart

 

Father John Misty

Josh Tillman’s stage name always struck me as weird. Not too many artists, unless you’re doing tongue-in-cheek metal or pop iconography, go for religious connotations. Now after Tillman’s cathartic and quaking performance at Kilby Block Party, it makes sense. He begins with the somber yet funky “Time Makes Fools Of All,” starting off more reserved with trademark sardonic wit and tragic sarcasm. Backed with the usual band and an incredible saxophonist who made the performances really stand out, Father John Misty lost the upright attitude and started to sound like a street preacher.  “Mahashmashana” was particularly revelatory, and his closing song of “I Love You, Honeybear” struck even harder with the sun beginning to dip and the smoke stacks of the power plant nearby. Call it the “right place, right time,” but the current events of this state made me feel like Father John Misty was preaching our woes and the solution of ego death and love. —Connor Kraus

 

Pattie Gonia

This show was anything, but a “drag.” I went into the performance thinking it was going to be a DJ set, but I was served, so so much more. Pattie Gonia accompanied by Sequoia, a local drag queen, took to the stage like two dames in shining armour. Gonia first stepped out in a gown shaped like a life-sized tent and called the festival “the most bisexual music fest.” She then gave an impassioned speech about the current political and economic state of the world. Oh yeah, if you’re the type who doesn’t like when “artists are too political,” this is not the show for you. Gonia talked aboutimmigrant, queer, natural and workers rights — all in the same set. She had three costume changes, the first being a carpenter’s outfit, the second was a cut up American flag and the last was Ms. Frizzle from The Magic School Bus. Sequoia also killed on stage, having a set fully backed by Slayyyter in which she added memes of people dancing as the stage setting. The fans in the crowd were going crazy, in more than just one way. —Marzia Thomas

 

Modest Mouse

On an evening in 2007 when I was struggling through freshman year and fighting for my life against puberty, my dad called me over to his computer. It was open to iTunes, and his bemused smile told me he couldn’t wait to share what he’d just heard. Wordlessly, he hit play on “Missed the Boat.” The track’s whimsical lyricism, meandering guitars and Isaac Brock’s bizarre but affable vocals baffled me at first, but the song and its surrounding album went platinum on my iPod that year. Modest Mouse has been one of my favorite bands of their generation ever since, so seeing them live for the first time this KBP was huge for me. The band took the stage at sunset on Friday, and Brock greeted us warmly before diving headfirst into tight and frenetic renditions of “Doin’ the Cockroach” and “Dashboard.” I keep hearing that Modest Mouse is past their imperial phase. I’m calling bullshit. Brock’s voice sounds as melodically deranged as ever, and the whole band nailed their patently manic sound throughout the whole hit-laden show. These guys still got the juice. The band closed with the obligatory “Float On” followed by “Shit Luck.” And while they never played “Missed the Boat,” they did give us a wistful performance of “Ocean Breathes Salty,” another long-time favorite of mine. Modest Mouse was well worth staring directly into the setting sun for an hour, and I can’t wait for the upcoming record they teased by playing some of the new singles. —Joe Roberts

 

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Saturday, May 16th

The Kilans 

If one likes to gamble, you’d be dumb not to bet on The Kilans. From the first notes of their sound check the audience erupted, spiraled into the band performing a full song clashing with the band Cardinals right next to them. But that’s exactly what a bunch of rock stars with a rock star attitude would do! That, their late 90’s outfits and glasses and their dancey, yet moshable rock music made it seem like they time traveled from two decades ago. Singer Jackson Ongman would keep shouting out his home city of SLC in between almost every lyric, and was constantly riling up the crowd while running around the stage. Ongman even got the crowd to sing along to the chorus of “Why Is It Light Out?,” which is one of the hallmarks of a good rock band. The other is that they debuted a new song called “Cherry, Please” as well as announced a new album coming out in October this year. Hopefully by then, The Kilans will still be humble enough to come back here on their world tour. —Connor Kraus

Dehd

Unlike most bands I’ve written about so far for this year’s KBP, this was not my first time seeing Dehd. I caught them several years ago at The Depot while they were touring Blue Skies, which I’d been obsessively spinning for months. Since that tour, Dehd put out 2024’s Poetry, which has some of the best songs they’ve written, so I was eager to see the group again and hear the new tunes live. Their vigorous surf-but-almost-punk vibe was also the perfect counter to Saturday’s dreary weather. Throughout the set, Jason Balla thrashed and spun with his lime green guitar as if possessed by Marty McFly, bassist Emily Kempf whooped and hollered through classics like “Lucky” and “Loner” and the stoic Eric McGrady kept us jumping with straightforward (see: easy to dance to) beats on his cymbal-free drum kit. The band played all their hits, including “Flood,” “Mood Ring” and, of course, “Bad Love,” but they also treated us to several new songs, my favorite of which was called “Destiny.” I don’t know when Dehd plans to release the record these songs will appear on, but I know for damn sure my playlists are going to be toast for the rest of the year once they do. After Kempf briefly paused to say, “Everyone here is cool and hot,” the band closed with an up-tempo rendition of “Dog Days” before sending us away to wait almost patiently for their next Salt Lake City show. You’ll find me there. —Joe Roberts

 

Briston Maroney

While criss-crossing on a beaten knoll braiding the last little strands of grass, the temperature had finally subsided to a breezy spring day. This would be the ideal weather to enjoy Tennessee-based rock star Briston Maroney. His unfiltered hooch of indie and rock is the type of trainhopping bop that entrances anyone chained down to the daily routine to fantasize about skipping town and starting life over. It’s a backwoods rawness that’s so apparent with songs like “Real Good Summer” or “Fool’s Gold.” That twangy, Bob Dylan vernacular is just so on-point, which is exactly what this crowd needed. Five minutes into his set, Maroney echoes “Wake the fuck up!” as the crowd screams in anticipation. With every sign and sway from the stage, the audience ate it up, especially Kermit the Frog at one point. Atlast, the true reason was willing to sit in mud for 30 minutes (and no, it’s not because of the Oasis cover of “Champagne Supernova”) — the surf rock teetering, melancholy drab of a symphony, “Freakin’ Out on the Interstate.” It was relaxing yet energetic, sorrowful with a happy ending. It’s tracks like these that are only appreciated live, and I’m glad I was able to witness it. —Alton Barnhart

The Last Dinner Party

The Last Dinner Party is one of the few bands whose name perfectly matches the feelings they evoke and the dark fairytale journey they take their audience on. I’ve long been a follower of the elusive group, envisioning white nightgowns around a candlelit feast deep in the woods, where there may or may not be a human sacrifice. When lead singer Abigail Morris and crew grace the stage, the energy shifts instantly. Opening with “Agnus Dei,” the band reels the audience into the ritual of The Last Dinner Party. Donning velvet, lace gowns and bohemian garb, Morris’ charisma and connection with her band feel natural, electric and almost supernatural, especially during the bass heavy performances of “The Feminine Urge” and “Caesar on a TV Screen.” The effort the group puts into its stage presence translates as sheer magic, and when Morris heads to the barricade during “My Lady of Mercy,” the crowd clings to her, screaming in a raw, divine feminine catharsis.

The audience erupts at the opening notes of “Nothing Matters,” the group’s most hard hitting song — the feast, if you will. The conclusion: nothing matters! There’s so much freedom in the gleefully morbid, almost verging on apocalyptic feeling of the song. Suddenly, I wish I were dancing around the maypole, officially crowned the May Queen from Midsommar during “This Is the Killer Speaking.” Choosing this as the final song speaks volumes about the band’s commitment to storytelling. The repeated lyric, “here comes the killer,” signals that this heart-eating, cultish dinner party has come to an end, and the crowd has eaten well. —India Mendoza

 

Alex G

I’ll admit that I was sleeping on Alex G until embarrassingly recently. It was only last year, after hearing the members of Momma praise his 2017 album, Rocket, that I really started paying attention. Upon my first listen, the record’s strange song structures, eerie vocals and dreamy (when not nightmarish) melodies seeped into my bones to fight my soul for possession. The winner is yet to be determined. My resultant deep dive through Alex G’s discography made him my #1 artist on the streaming platform which shall not be named in 2025, so catching his Saturday set was a top priority of KBP7 for me. The crowd at Lake Stage was equal parts teenage girls and balding millennials, and we all erupted with applause when Alex and his band took the stage. After opening with “Gretel,” the group proceeded to play most of 2025’s Headlights, mixing in a few older songs like “Sarah,” “Harvey” and the classic “Runner.” They mostly kept to the wistfully sunny side of Alex’s catalog, so they didn’t play any of the bizarre songs I love off of Rocket, but Alex did let his freak flag fly by covering “Superman (It’s Not Easy)” by Five for Fighting and intentionally fucking up the lyrics as the music devolved into a grungey fever dream of screaming and distorted guitars. If you told me you had that on your bingo card, I’d call you a fuckin’ liar. And in a surprisingly poignant moment that might be the highlight of the festival for me, they played “Afterlife” right as the sun set behind the stage. That memory now rivals hearing TV on the Radio play “Trouble” at that exact same stage exactly one year ago. —Joe Roberts

 

The xx

These music festivals get more and more malicious every year, taxing both mental and physical endurance. My forehead had turned to a pulsating tomato, as my feet began to welt like pissed-off Samsung batteries. Of course, the last act of the night would pop off for some dazzling performance…and sure enough, I nearly set sail to Sleepy Time Harbor during The XX. Like HEALTH on cough syrup, the London-based electronic band got back together after an eight year departure, taking over the Kilby Stage with ambient sound through the darkness (like seriously, why were all the spotlights shut off?). It was a groovy type of session with a lot of the audience gyrating to the synths like a roaring ocean of nameless faces with even Oliver Sim taking a swim. Although their music was top-notch, a tiresome percentage of myself was wishing for a warm blanket and a few more hours to sleep. I couldn’t even make it through “Intro.” —Alton Barnhart

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Sunday, May 17th

Bad Luck Brigade 

Opening on the third day has to be rough. You’d have to follow up from all the past acts, kick off the final day of the festival, only for it to be constantly threatened by rain. Not only did Bad Luck Brigade follow up and set the pace for the rest of the day, they even brought out a perfect 30 minutes of warm sun that matched their smooth, funky and bright sound. A six man piece with a rapper up front, a horn player and a bongo player, they kickstarted their set and rolled strong through it all. They even took time to poke fun at the people camping at the Kilby Stage barricade, yelling at them to come join in on the fun. And what fun it was! With their bouncy funk and fast-paced rapping, it’s hard not to enjoy the vibe, while their backing screen showed off Utah Jazz era Carl Boozer playoff highlights. And now, as the day draws on and the weather only gets worse and worse, I deeply miss Bad Luck Brigade’s sunny and easy going music. —Connor Kraus

 

Magdalena Bay

Magdalena Bay has done it once again, blowing away the crowd with an incredible set. They started out by playing mostly from Imaginal Disk and later played their newer singles. Mica Tenenbaum changed outfits multiple times to go along with the story behind their stellar album. She starts out in this red dress with planets all over her, switching between a demon and sun mask to reveal how the lore develops. If you’re unfamiliar, it basically plays as a narrative movie about the main character, True, and her alter ego called Ghost. The main character longs for more — more light, more excitement, more fun. The album swirls with delight as this comes true, but at a cost. The whole idea behind it is so fun and I was stoked to hear “Vampire in the Corner” in person. Honestly, I was so deep in the pit with my friends dancing around which is exactly how this music should be heard. By the way, I could still imagine the disk spinning around me. —Marzia Thomas

 

American Football

The rainy stadium vibe is in full effect at Kilby Block Party, as American Football takes us to a cozy midwestern evening and I’m cozied up in the stadium seating with my hood up. The band opens with “Blood On My Blood,” as I feel a Twilight-esque angst lingering in the air. I have a full view of the crowd, jumping and cheering in unison like it’s Friday night lights. The crowd seems especially connected to “My Instincts Are My Enemy.” This song is possibly my favorite lyrically, vividly describing wild, possibly hedonistic temptations that I rarely see represented so well in music. Mike Kinsella’s raw vocals really sell the time capsule of growing up, being in love, and figuring out your vices and impulses. Following an eruption of cheers, Kinsella states, “I feel like I’m at a rodeo, I don’t know what’s gonna happen next!” This sentiment is echoed by a shining surprise appearance by Hayley Williams to perform “Uncomfortably Numb.” Williams is set to perform an hour later at the Kilby Stage, and this sweet, delicate collaboration truly shows her wide vocal and style range. The song feels nostalgic, something you’d listen to on the bus on the way to a rainy middle school day. This guest appearance clearly means a lot to the crowd, tears stream at the tender song. There are clear overlaps in fans, indicating the midwest emo connection between Williams and American Football, which really tied this set together, making it feel like an A24 movie was playing in my head while I snuggled up to my boyfriend. —India Mendoza

 

Hayley Williams

ALL HAIL THE QUEEN OF ROCK! Utah let up on the waterworks and gave Hayley Williams and her band the space for them to absolutely go wild. And go wild they did. Williams played, screamed and shredded through the songs of her recent album, all while her band showed off their skills. They opened the set with “Mirtazapine” before getting to “Disappearing Man,” while images of Kevin O’Leary flashed on screen with giant red “NO”s. Like all good rock legends, Williams knew her audience and our issues like the data center and ICE, as she played scenes from the movie SLC Punk behind her. After a brief medical emergency causing a pause, Williams took the time to check and make sure everyone was okay before rocking on. Both in between and during songs, she paused to talk to the audience, guiding us through breathing exercises and letting in the room for the right love we deserve during “Love Me Different.” “Ice in my OJ,” “Brotherly Love” and “Hard” were killer, especially with Williams swaggering all over the stage and her piano. She also let her own issues of racial injustice in the South with the haunting “Strange Fruit” with the background image being a Tennessee representative being removed. With this being her first festival apart from Paramore, she was equal parts stunning rock star, political/social activist and a dorky goober who had to stifle giggles, hide laughter and was smiling any time she wasn’t singing and talking. It’s clear that Hayley Williams loves the music, loves everyone in her crowd, and the issues all around. Finishing the set with the highlight of her new album, “Parachute,” was just as much a hurricane force of emotions and catharsis. Maybe one day the queen of rock will return back and grace this state. If not, she has definitely left her mark and hair dye all over. —Connor Kraus

 

Blood Orange

The Mormon God must have heard my prayers because we actually got Blood Orange as a standout opener to Lorde. Dev Hynes started out by playing the cello and switched between instruments including the guitar and piano. He was accompanied by a killer backup vocalist, who brought a breathy, airy light to the set. He began mostly playing from Essex Honey which if you haven’t listened to in full you probably should by now. But that’s not to say he didn’t play crowd pleasers, I mean this is the king of sex and love afterall. He played plenty from Cupid Deluxe and Freetown Sound, which caught me by surprise. I fully expected this to be a show for the fans of his new sounds. He played beautiful renditions of “Best To You” and “You’re Not Good Enough” which were enough to make even the most boring of crowd members jive a little. I fully started crying like a baby to the breakdown of “Uncle Ace” which it may be strange to sob to the song from Challengers but hey, that’s what Kilby does to ya! —Marzia Thomas

 

Lorde

Up until the moment Lorde came out, I still barely believed she’d actually grace the Kilby stage. I was packed into a tight crowd bubbling with anticipation — no one is bothered by the cold or rain anymore. The lights are bright, the sky looks almost surreal. Lorde is a key artist in many of these now 20-30 somethings’ core memories. It’s a stormy indigo blue night, and as the lights shut off, the strobes start and the first few electric strokes of “Hammer” fill the space, I feel like I’m on a spaceship going to another planet as I wait for the alt-pop queen herself. Donning a white tee shirt and cargo pants, she somehow seems more herself than ever, blending masculine and feminine energies when she reveals boxer shorts and swings her wild, goddess-like hair.

“Hammer” cuts, silence fills the crowd. Gasps and mutters, what’s happening? Did the rain cause technical issues? Nope. Lorde is just a musical genius. The first few notes of “Royals” play, and we scream at the immaculate transition. She’s got us. We’ve all been abducted by Lorde, and we’re dreaming out loud in her strobe light universe. 

She has an especially steamy, intimate moment with her guitarist during “Current Affairs,” singing in his ear and touching his chest from behind. I can’t imagine he isn’t swooning. It almost feels like we shouldn’t be watching. She’s hot, herself and in control. 

The glimmering first keyboard notes of “Buzzcut Season” float down with the rain, and I immediately cry — this is my favorite Lorde song. Her soft vocals and gloomy piano notes combined with lyrics about the anxieties of growing up and the state of the world were a 3 a.m. comfort when I’d wake up from a strange, lonely girl nightmare when I was younger. This song feels like being a ghost, existing in a sheltered suburban world, haunting the ones we love. 

We dance in perfect union with the crowd during  “Perfect Places” and “Supercut.” Lorde reaches out and holds our inner worlds in her hands by asking the crowd to imagine the feeling of a crush in July, taking us back to a giddy, heart-throbbing, youthful time on this brooding  evening. Similarly, “Liability” is preceded by a monologue about feeling misunderstood, both by the world and herself, a theme that feels so true to her and all Scorpio queens.

Booming bass and energetic, almost balletic choreography from Lorde’s dancers during “Team” and “Greenlight” bring us into an exhilarating state of girlhood and dancing, we almost levitate like witches while we jump. Lorde closes with “David,” she seems to baptize herself as a virgin again, moving into the crowd like a saint, dressed in white and soaking wet, the light only illuminating her and the hands of the crowd as she walks the barricade on the big screen. I hear the girl next to me say, “this feels blasphemous, but she is my God right now.” 

We all feel touched by the Lorde when the heartwrenching first sound of “Ribs” sends a collective chill down the rain soaked crowd. I’ve never felt more connected to such a buzzing, in-sync crowd in my life than I did during this song. I have a feeling Lorde has created eternal magic in all our inner worlds last night. —India Mendoza

Read more on past coverage of Kilby Block Party here:
32 Sensational Performances at Kilby Block Party 6
Photo Gallery: Kilby Block Party 6 @ Utah State Fairpark

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