Show Report: Coheed and Cambria / Taking Back Sunday / Foxing
By CZB
August 26, 2025 - Pier Six Pavilion, Baltimore, MD
It was mid-day on a Sunday, and I was sitting on a park bench on 36th Street in Hampden, enjoying an ice cream.
It was cloudy and muggy—not exactly ideal weather for seeking out a waffle cone.
But this wasn’t just any scoop of ice cream. The Charmery, a Baltimore-based ice cream shop, had collaborated with one of my all-time favorite bands—Coheed and Cambria—on a limited-edition special flavor: Father of Cake Believe. A play on the band’s 11th studio album, Vaxis – Act III: The Father of Make Believe, the scoop was comprised of funfetti birthday cake mixed with peanut butter cups. The taste of this sweet treat was made even sweeter knowing that in 48 hours, I would be sitting in the audience (sans ice cream) in anticipation of one of my favorite bands crossing the stage at Pier Six Pavilion.
Using the close proximity of the venue to my house as a cost-saving justification (no hotels! no tolls! no parking! I can keep all my organs!), I decided to snag PRISE VIP tickets. The middle-tier option provided early access to the venue, preferred seating, and a pre-show acoustic set. I arrived around 4:15 PM to line up for VIP entry. Venue staff led the eager crowd to gather at the gates around 5:10 PM. Through the chain-link fencing, we could see Claudio and the gang shaking the last few hands with the MAGE VIP meet-and-greet fans before setting up for the acoustic set. Finally, they disappeared, the gates opened, and we were inside the venue.
Entering Pier Six Pavilion feels akin to boarding a small ship—the awning above is reminiscent of billowing sails. Nestled quietly in the shadow of Baltimore’s Inner Harbor, the venue is surrounded by boardwalk over water on three of its sides. A small lawn spans the rear. There are arguably no bad vantage points. By golden hour, locals floated in on boats and kayaks along the west side of the pier to listen in for free. Early entry afforded attendees first access to merchandise, bars, and food with essentially no lines. After stopping at the merch stand, I made my way to my seat, stage right.
Coheed took the stage for the acoustic set at 5:25 PM. Claudio, hair pulled back into a bun and looking casual in sunglasses, thanked the intimate micro-crowd of super-fans and led the band into a cover of “Skulls” by the Misfits. You couldn’t help but feel the intimacy of the small crowd paired with the stripped-down set.
Shortly after Coheed left the stage, doors opened for all guests, and the slowly growing crowd awaited the first opener—Foxing, an indie/emo five-piece from St. Louis, MO. They quietly took the stage around 6:30 PM. Of the three acts, I admittedly knew the least about Foxing’s catalog. This would be an educational experience.
On the outside, Foxing presents as a group of well-flanneled, humble indie dudes. In execution? Conor Murphy’s vocals alternate between punchy, gritty angst and lofty, floating choruses. '“Hell 99” a track from Foxing’s latest self-titled album, began with Eric Hudson’s tension-filled screams. I’m in. I’m hooked. Why aren’t there more people in this crowd? Who failed to tell me how impressive this group is?
Foxing’s set flew by. If I had the opportunity to give one piece of advice to anyone planning to attend this tour, it would be this:
Get to the show early. Watch Foxing’s set. Hell, buy a T-shirt.
Taking Back Sunday took the stage next, opening with “A Decade Under the Influence.” My entire section was on its feet, as if Section 110 was reserved exclusively for elder emos. Between hip-sways and microphone hackeysacking, frontman Adam Lazzara paused to give a nod to Fred Mascherino, thanking him for stepping in for John Nolan, who had to step away from the 2025 tour to focus on family and mental health. Fred expressed his appreciation for being welcomed back to TBS.
It’s no secret that TBS has been the subject of fan commentary for their eccentric live performances and questionable vocals. But credit where credit is due: this was the best TBS set I’ve seen live. The mix wasn’t perfect. The vocals were more of a… suggestion than a faithful reflection of the originals. None of it mattered. The crowd was activated—a sea of millennials who had spent Decades Under the Influence of TBS, fully at attention and screaming along with every word. Adam and company kept the energy at 100% for the entire set, closing with “MakeDamnSure.”
As the sun began to set, the crowd rose. The pit seemed nearly at capacity. Just before 9 PM, Coheed took the stage with the intro of “Yesterday’s Lost,” moving into “Goodbye Sunshine.”
Coheed and Cambria wasted no time diving headfirst into their set, holding onto that momentum for the entire night. Every time I see them, I wonder where humans like this get the stamina to perform this way every other night for months on end. By this point, the crowd was fully risen, and I lost track of everyone around me.
Roughly halfway through, Coheed paused to acknowledge the crowd. Claudio recounted memories of the band playing a show at Ottobar (February 2003) when they were just starting out. Ottobar, a small but legendary venue in Baltimore’s Charles Village neighborhood, has hosted acts like Death Cab for Cutie, Jimmy Eat World, Brand New, and Anthony Green. As a frequent visitor, I can confirm Ottobar fits maybe 150 people on a good night—a fraction of Pier Six Pavilion’s ~4,500 near-capacity crowd.
Before I knew it, it was time for the encore. Because I can’t help myself, I had indulged in pre-show research and knew the “Mr. Brightside” cover was coming—but who doesn’t get excited to hear The Killers? The emo nostalgia was at an all-time high. Coheed closed with “Welcome Home”—arguably their most powerful and well-known song since its release 20 years ago. With his double-necked guitar raised overhead, Claudio tore into the grand finale. Far and away, my favorite Coheed show I’ve seen.
High on post-show adrenaline, I opened Instagram on the walk home to catch up on group chat messages. The first story I saw: Coheed and Cambria, lined up outside The Charmery in Hampden, feet from the bench I had sat on 48 hours earlier. Post time: roughly 10 hours before.
Maybe I should have waited to get that damn ice cream cone.
