SCOWL
w/ Glixen
7/30/25 – X-Ray Arcade – Milwaukee (Cudahhy), Wisconsin
©Justin Nuoffer/NuofferMedia.com
A warm and wet Wednesday night in the blue-collar Milwaukee suburb of Cudahy felt like the perfect time and place for the ferociously fun punk of Scowl. Approaching the X-Ray Arcade, you could easily mistake it for just another house on the block—but that illusion fades quickly once you open the door.
Guests are greeted by a friendly doorman and checked in. Inside, the bar sits right in the middle of the room, beers flowing and the kitchen whipping up tasty meals. After all, this is Sud City. Along the front wall to the left, a row of arcade games buzzed with energy and had lines of people waiting to play. On the opposite wall, the merch tables were bustling with fans browsing a variety of goodies and trinkets. A sharp right turn brings you to the main floor. The black walls and flooring only enhance the effect of the stage lighting.
Opening the night were Milwaukee locals Mizzy, with a dreamy shoegaze sound, followed by Big Laugh, whose hardcore attitude and thunderous songs shook the walls. Both openers were well-received, earning cheers and applause. But most people were there for something else.
Glixen, a four-piece from Phoenix, AZ, had a 35-minute set and seven songs to deliver. Founded by Aislinn Ritchie on guitar and vocals, Glixen is pure shoegaze—focused on sound textures and dreamy riffs. If you came to move, this wasn’t your moment. This was music to close your eyes and get lost in. Esteban Santana, on the right side of the stage, crafted soundscapes through a pedal board packed with effects.
Check out the Glixen concert photos below:
Paired with Ritchie’s soft and sultry vocals, the result felt almost otherworldly. Glixen knows exactly what they’re doing and they do it well.
By the time Scowl took the stage, the X-Ray Arcade was packed. Space was tight and getting a clear view wasn’t easy. But that didn’t matter. Hailing from Southern California, Scowl has grown in front of our eyes. They’ve become a true force—able to hit the road on their own and fill grassroots venues across the country. Yes, they’ve played Coachella and opened on the Eagles Ballroom stage just up the road, but this—this club setting—is where they’ve earned their stripes.
Kicking it off with “Opening Night” and “B.A.B.E.,” the energy jumped to eleven and never let up. Scowl’s wickedly fun nature was apparent from the moment the lights rose. Vocalist and frontwoman Kat Moss two-stepped and danced her way across the stage, weaving between monitors to get face-to-face with crowd members. Often, she reached the mic out to let the audience sing along.
Moving into two of their better-known tracks, “Shot Down” and “Psychic Dance Routine,” the floor shook with an intensity that could register on a seismograph. Guitarist Mikey Bifolco jumped around the right side of the stage, leaning into his cabinet to feel the power of his riffing. The pure intensity of his aura matched his playing as the band dove into the heart of their setlist. With only two songs—“Bloodhound” and “Fuck Around”—from How Flowers Grow, their first EP, the rest of the night focused on their brand-new full-length (and potential album of the year), Are We All Angels.
This tour is a true testing ground for the new material—and it hits like a sledgehammer. The impressive songwriting and ferocity of their stage presence prove that Scowl has truly found their sound. During “Not Hell, Not Heaven,” Moss growled as she leapt across the wooden stage, letting loose with raw passion.
Backing her all night was bassist Bailey Lupo, who delivered rumbling low-end support and vocals. He stayed grounded and focused, letting the others go wild around him. Behind them, barely lit, drummer Cole Gilbert pounded away, holding the chaos together. As a unit, the band was incredibly cohesive, unleashing a furious blend of punk and hardcore. Moss repeatedly urged the crowd to move—and they did. Stage divers launched over the front row, keeping the pit alive and chaotic. The rowdiness wasn’t just expected—it was part of the experience.
As they entered the final stretch, “Tonight (I’m Afraid)” sparked even more movement onstage. Kat Moss made her way down the line of fans pressed against the barrier, singing directly to them with clean vocals as the campy, pop-punk groove took over the X-Ray Arcade.
The tempo surged again with the title track “Are We All Angels,” bringing it back to a fast, old-school punk show. But closing with “Special” truly lived up to its name. The song’s unique sound, harmonized verses, and gripping lyrics made it the perfect finale. Its angst and underlying themes of personal struggle captured the spirit that defines the genre.
Check out the Scowl concert photos below:
All in all, Scowl is everything one could hope for in a live show. From their sharply crafted songs to their blistering stage presence, they’ve quickly become a force to be reckoned with. They’re destined to headline much larger stages, and with a brand-new album that’s close to flawless, they’re well on their way. Seeing them in an intimate setting only deepens the appreciation for what’s to come.
