Concert Review: PUP at Stubb’s

Toronto punk band PUP played a sold-out show at Stubb’s on March 3, joined by co-headliner Joyce Manor and opener Pool Kids.

Written by Audrey Vieira

Photos by Amelia Tapia

Just under a year after previously headlining Stubb’s last April, Toronto punk band PUP returned to the historic Austin venue for a sold-out show in support of their latest album, THE UNRAVELING OF PUPTHEBAND.

Excitement was visible from across the street before doors opened at 7:00 p.m., as seen by two long lines of fans waiting to enter the amphitheater. Once inside, smoke swelled from both a smoke machine onstage and the abundant lit cigarettes of concertgoers, many of whom also held onto cans of beer and Liquid Death from the bar or recently purchased items from the merch table.

Pool Kids opened the night promptly at 8:00 p.m. with lead single “That’s Physics, Baby” from their self-titled album. The crowd nodded along to the first verse and chorus, later opening the first pit of the night during the final chorus. That pit quickly expanded as Pool Kids followed up with the angsty track “Arm’s Length,” which fans eagerly sang along to. Despite it being early in the night, the crowd was energetic throughout the band’s 30-minute set, especially during fan favorite “$5 Subtweet” and set closer “Talk Too Much.”

Joyce Manor went on next, opening with cathartic classics “Heart Tattoo” and “Derailed” before delving into newer material with triumphant single “Gotta Let It Go” from their latest album, 40 oz. to Fresno. Vocalist Barry Johnson was enthusiastic to be at Stubb’s, telling the crowd that it was the band’s first time at the venue. The crowd frequently moshed throughout the band’s 45-minute set. When Johnson declared “If you came to pit, this is the song for you!” before “Done Right Discount Flooring,” the pit matched the fast-paced punk track’s energy. Immediately after, he introduced “Big Lie” by shouting “If you came here to nod your head and drink beer, this is the song for you!” Even then, fans eagerly jumped up and down.

After Joyce Manor wrapped up their performance with “Catalina Fight Song,” some attendees moved further into the pit while others watched as PUP’s backdrop — a sketch of the four band members featuring the band’s name in a bubbly blue font — appeared onstage. Fans patiently passed the time by sipping beer and smoking cigarettes in anticipation for the Toronto punk band’s headlining set, cheering enthusiastically at 10:05 p.m. when the four-piece finally took the stage.

PUP began their set with “Morbid Stuff” from their 2019 album of the same name after making their grand entrance to its triumphant opening riff. Fans quickly opened the pit in response, moshing intensely and even holding up a crowdsurfer as the band continued with Morbid Stuff’s second track, “Kids.” Vocalist Stefan Babcock followed these first two songs with a hearty “What’s up, fellow freaks?” prompting even more cheers from the already ecstatic audience. The band was just as excited to be onstage as their fans were to be in the crowd. Babcock then instructed those in the pit to look after one another, saying, “The world is a piece of shit and hopefully it’s not a piece of shit in here.”

Fans thankfully obliged as the band played blunt breakup anthem “My Life Is Over And I Couldn’t Be Happier,” colliding into each other and carrying another crowdsurfer during the song. Bright orange stage lights then rang in “Dark Days,” a triumphant ode to survival from PUP’s 2013 self-titled debut. Newer hit “Robot Writes A Love Song” immediately followed, marking the first song of the night from PUP’s latest release, THE UNRAVELING OF PUPTHEBAND. Though the song started off softer and more romantic than typical PUP fare, the crowd remained energetic and engaged throughout.

Babcock later introduced “an old classic,” promising “nothing but the hits,” much to the enthusiastic crowd’s delight. Members of PUP made good on this promise by revealing said classic was none other than anthemic 2016 single “Sleep In The Heat.” Fans knew every word and non-lyrical vocal by heart, throwing their hands in the air during the bridge to join Babcock in reciting “woahs” and “ohs” during one of the most joyful and carefree moments of the night. Moshing was lighter and less frequent at this point, but catharsis remained as the band launched into UNRAVELING highlight "Habits,” fans eagerly nodding along to the newer hit as enthusiastically as they did for PUP’s older material.

“How about some old shit?” Babcock asked the crowd, prompting one attendee to shout “Reservoir!” in hopes of hearing the early fan favorite. The previously calm pit reopened in full force the moment audience members recognized its grungy opening riff. It seemed as if some had waited all night just to mosh to this song. As fans sang the chorus: “You’re all alone / I’m letting go at the reservoir,” they let loose in the pit, pushing into each other at full force while still making sure not to let anyone fall.

Later into the set, a stunning synthesizer transition marked a shift from deep cuts to new hits as PUP performed the first two tracks of UNRAVELING, “Four Chords” and “Totally Fine.” “What a fucking transition!” Babcock declared before the former. Fans waved their arms to the grand instrumental break, holding up lit lighters in lieu of cellphone flashlights to show their admiration for the grand performance.

The crowd ignited again during the isolated opening of five-minute epic “Scorpion Hill,” lifting their lighters once more before opening a circle pit once the full band kicked in. The pit stayed open throughout the rest of the song, only slowing down when Babcock led the audience in singing along to the outro. PUP then gave fans one more favorite from Morbid Stuff with the emotional guitar-driven “Closure,” a performance which saw at least three crowdsurfers make their way across the pit. It was likely the most-crowdsurfed song all night, for good reason considering how brilliantly Babcock’s vocals and guitarist Steve Sladkowski’s strumming energized fans late in the night.

Towards the end of their set, PUP offered one last hit from their latest album with UNRAVELING’s anthemic lead single, “Waiting.” Fans simultaneously moshed and sang along during its grandiose chorus, making sure to hold up the occasional crowdsurfer in the process. Babcock spoke to the crowd again once “Waiting” ended to thank them for selling out Stubb’s, saying, “It’s fucking nuts to be back a second time. Thanks for selling this shit out.”

Babcock then revealed that PUP’s next two songs would be the last ones of the night, telling fans “we don’t believe in encores.” Nevertheless, the band ended their set on a high note with The Dream Is Over standouts “If This Tour Doesn’t Kill You, I Will” and fast-paced drinking anthem “DVP.” Though the former was considerably laid-back compared to the latter, both songs saw frequent, intense moshing as fans took their final opportunities to participate in the pit and sing their hearts out. The last minute of “DVP” capped off the night with one final pit rager; some moshing, others singing along, and many moshing as they sang. A few people even took their last opportunities to crowdsurf, making their way across the pit in the final moments of PUP’s set before band members departed the stage at the end of “DVP.”

True to Babcock’s words earlier in the set, PUP brought plenty of hits, both old and new to their sold-out show at Stubb’s. Both the band’s excitement to perform and the crowd’s mutual joy to be in their presence were palpable throughout the night. Hopefully, PUP’s next Austin show happens sooner rather than later.