Phantogram made their mark on the heart of downtown Nashville, with a vibrant, energetic and enchanting show at the historical Ryman Auditorium. The electronic pop and rock duo from New York, Sarah Barthel and Josh Carter, are both talented vocalists and multi-instrumentalists. Their 2025 tour, “RUNNING THROUGH COLORS,” is currently traveling across the country for the next month following the release of their latest album, “Memory of a Day.” Their hit song, “Black Out Days,” recently gained popularity on TikTok, despite being released in 2014. As I arrived at the venue, I took in the excited chatter of the fellow crowd as a collective anticipation built for the riveting show to come.
Invigorating electronic music opened up the show as the stage lights drowned the Ryman in bright blue. GLU, the indie hip-hop opener from Los Angeles stepped onto stage by himself — a complete solo act. He donned double denim, black sunglasses and slicked back blonde hair. Guitar in hand, GLU played the first song of his set, “MOONWALKIN’” from his latest “MY DEMONS EP.” Electric guitar in hand, he switched between rapping and singing with a rhythmic and level flow that paired well with his deep voice.
His newest songs from his EP “MY DEMONS” were grungy and intense, yet maintained an effortlessly cool finish. A few of the songs on his setlist, “FUCKED WITH MY DEMONS” and “MY DEMONS,” feature the voice of Phantogram’s Barthel. He also played the first song he ever released as GLU, “COLD SWEAT,” which had a light, funky beat that was a contrast to his more recent music, which had a darker tone. Throughout the set, GLU was bopping his head and kicking the air, raising the energy of the room in anticipation of the headlining act.
Phantogram matched the building tension with an emotional flare that was their first song, “Jealousy.” A saturated green bathed the venue, pulsating to the palpable envy of the song. Barthel took the mic, stunning in a slim-fitting, all-black outfit complemented by ripped tights and knee-high boots. Carter, matched in equally dark clothing, joined with his electric guitar. As they performed, the pair bounced between the main stage and a platform that held their pianist and drummer throughout the concert. Their non-stop movement and energy added further thrill to their music and immersive stage production.
Behind Phantogram, a long mirror stretched along the back of the stage, reflecting the audience back onto themselves. This element of Phantogram’s set seemed to bring the crowd onto stage and into the performance as well. Throughout the show, the audience was treated to many mesmerizing light shows, dynamic enough to be a third performer. The design of the lights took full advantage of the stage, top to bottom and side-to-side, to extremely creative effect. Each song introduced new colors, shapes and light choreographies, with pinwheeling rays, blinking pixels and racing lasers that give the music an expressive visual language.
When singing only, Barthel was free to dance all across the stage, like she did intermittently throughout the following songs “Don’t Move,” “Fall in Love” and “Feedback Invisible,” which are all psychedelically electronic, each an experience on their own. While Barthel sang majority of the time, Carter shined in standout moments, where his deeper, rougher vocal sound shifted a song’s energy into something more raw.
(Izabela Bisiak)
The mood then shifted with “Pedestal,” a more gentle and romantic song that felt almost celestial, before returning to the more synthetic beats like “Mouthful of Diamonds” and “Run Run Blood.”
Considering the number of instruments played and places on stage Barthel took in a single performance, it was impressive that she only forgot her microphone once. During the transitions, the duo would also interact with the crowd, once commenting on their beauty.
“What’s in the water here?” Carter joked.
The next songs had a more nostalgic and mellow tone. “You Are The Ocean” and “Happy Again” place the viewers in a swaying mood with their soft synths and slow tempos. In sync with the music, the light effects turn white and decelerate, appearing dream-like. “Blackout Days,” a popular Phantogram song which was a popular sound on TikTok, then revitalized the audience. It had an edgy, distinct instrumental that, with the anguished vocalizations, became dramatically and hauntingly beautiful.
Phantogram rounded out the concert by alternating between their exuberant and subdued pieces. “You Don’t Get Me High Anymore” was a high-energy headbanger, where the audience and the performers danced alike with fervor. The buzz of its powerful instrumental reverberated throughout the concert hall and through our feet. “When I’m Small,” with its electronic scales and interesting, high-pitched melodies, was a song to bop our heads to. The final song characterized their style of exuberant synths and enthralling vocals.
(Izabela Bisiak)
Phantogram’s concert had its own pulse, charged with life and emotion. The duo showcased a range of creative musical effects with their raw vocals and transcendent, synthetic sounds that make up their unique signature. The music and the moving lights came together to build excellent tension throughout each song. True to its name, the show was truly running through colors, with all of its vocal, instrumental and lumination effects, creating an altogether electrifying and phenomenal audiovisual experience.
