- PEACHES w/ PIXEL GRIP
- 3/28/26 - The Studio at the Factory - Dallas, TX
- ©Jason Hensel
What a show.
On a balmy Saturday night in Dallas, Peaches brought her dance-driven performance-art act to The Studio at the Factory and delivered a set that didn’t just meet expectations, it steamrolled right over them. Touring in support of her latest album No Lube So Rude (released February 20), Peaches continues to prove that decades into her career, she’s still operating on her own frequency – loud, confrontational, and completely unfiltered.
Before Peaches began her lesson on how to put on a memorable mothereffing show, Chicago darkwave-dance trio Pixel Grip hit the stage. Formed in 2018 in Chicago, the band – Rita Lukea, Tyler Ommen, and Jonathon Freund – has carved out a lane with icy synths, industrial-leaning beats, and unapologetically provocative themes. They opened with “Dancing on Your Grave” off of their second LP, 2021’s Arena, immediately locking the room into their pulse, and never really let up from there.
Check out the Pixel Grip concert photo gallery below:
Led by the enticing Rita Lukea, the group was a great show opener, priming the audience for the night. Though their setlist was short at just eight songs, they delivered a powerful punch with tracks like “Stamina,” “Reason To Stay,” and “Bet You Do.”
Their remix cover of Nine Inch Nails’ “As Alive As You Need Me to Be” added a familiar edge, while “ALPHAPUSSY” landed exactly how it should – bold, unapologetic, and perfectly aligned with the tone of the night.
Peaches is the stage name of Merrill Nisker, a Canadian musician and producer who emerged in the early 2000s with albums like The Teaches of Peaches and Fatherfucker, helping define the electroclash movement. Her entire career has centered on challenging gender norms and societal expectations, often through explicit, tongue-in-cheek lyricism and wildly theatrical live performances.
If you’ve never experienced a Peaches show, the song titles alone will tell you exactly what you’re in for: “Fuck the Pain Away,” “No Lube So Rude,” and “Hanging Titties,” for example.
The audience heard all those songs and more during a set that ran just over an hour and a half. Peaches opened with “Hanging Titties,” immediately setting the tone – absurd, aggressive, and impossible to ignore. From there, she moved through a 24-song set that pulled from across her catalog while weaving in newer material, including “Rub,” “Vaginoplasty,” “Operate,” “Boys Wanna Be Her,” and “Fuck How You Wanna Fuck.”
Peaches started the performance wearing a huge costume covered in hanging titties. Moving through her costume changes was seamless, too, as her dancers often helped her unzip or pull on her outfits.
Throughout the show, the audience experienced dancing vaginas, strap-on flaccid hairy penises, and what resembled a large, inflatable fallopian tube. At one point, Peaches walked through the audience dressed as a prolapse, making her way to the sound booth where she performed from a pop-up stage before working her way back through the crowd to the main stage. It was immersive, unpredictable, and exactly the kind of sensory overload her shows are known for.
After the main set, she returned for a three-song encore – “Dick in the Air,” “Fuck the Pain Away,” and “No Lube So Rude” – which felt less like a victory lap and more like one last push. But she wasn’t done. Peaches came back out for a second encore, closing the night with a stripped-down cover of “People,” made famous by Barbra Streisand in the 1964 musical Funny Girl.
Check out the Peaches concert photo gallery below:
A fitting, unexpected end to a night that was anything but subtle – reminding everyone in the room that underneath all the debauchery and spectacle, there’s still something human holding it all together…and that “people who need people are the luckiest people in the world.”
Catch PEACHES On the Road…
