THE NBHD TURN D.C. “UPSIDE DOWN, INSIDE OUT”
BY EMMALEE SULLIVAN
While Coachella weekend one took over the California desert, D.C. had something far better waiting inside The Anthem. Getting to see The Neighbourhood at my favorite venue meant Coachella wasn’t even remotely a FOMO moment. In fact, with the band currently in the middle of a massive sold-out arena tour across North America, Europe, Asia, and Australia, it felt almost unreal that D.C. managed to pull them in for two sold-out nights, especially in a room that, somehow, still felt intimate despite its size.
I was lucky (and greedy) enough to attend both nights, and it genuinely felt like two completely different shows. Night two leaned into something softer and more whimsical, starting with an opening set from After that transformed the room before The Neighbourhood even touched the stage. Lead singer Justine Dorsey carried an effortless presence, beaming through every note, completely immersed in the performance. Fans at the barricade swayed with their arms wrapped around each other, already building the sense of community that would define the rest of the night.
By the time the stage turned over, the anticipation was undeniable. Even the photographers in the pit were swapping favorite songs and memories, proof that this wasn’t just another show. The Neighbourhood didn’t just define an era, they soundtracked an entire generation’s coming-of-age, steeped in teenage angst and Tumblr-era nostalgia.
The second the opening drums of “Hula Girl” hit, the energy snapped into place. Frontman Jesse Rutherford stepped out with an almost playful ease, tambourine in hand, instantly locking into the crowd’s energy. One of the night’s standout moments came early, as Jesse circled the stage during the song, pointing out fans dressed as hula girls, grinning like he was just as entertained as everyone else.
Once I stepped out of the photo pit, professionalism went out the window, in the best way possible. From that point on, it was all screaming lyrics and losing myself in the moment. The energy didn’t stay contained to the barricade either; it spread through every corner of the venue, with fans dancing wherever they could find space.
Night two also brought a surprise debut performance of “Wires,” a track whose controversial lyric, “Help me kill the president,” hit differently in D.C., adding an unexpected edge to an already emotionally charged set. Moments like that made the night feel less like a concert and more like a time capsule, pulling everyone straight back into their teenage years.
When “Cherry Flavoured” began, the entire venue softened. Strangers grabbed onto each other, swaying as one before erupting into a full-venue scream-along:
“I’VE BEEN GETTING HIGH, YEAH…”
It was one of those rare moments where you realize, mid-song, that you’re exactly where you’re supposed to be.
Despite their extensive catalog, the band crafted a setlist that touched every era seamlessly. Even more impressive, they performed with the kind of stamina and energy that made it feel like they’d never slowed down at all. While the crowd gave everything back, The Neighbourhood proved they’re still capable of carrying an entire room on their own.
Closing with “Softcore,” the band pushed the performance into overdrive. A distorted, stop-and-start bridge built tension before cascading sparks fell from the ceiling, turning the final moments into something cinematic. By the end, even though the merch hit differently, the bedazzled Softcore baby tee suddenly felt less like merch and more like a souvenir of the experience itself.
Before leaving for good, Jesse made his way down to the barricade during “Red Flag,” dancing with fans and even stopping to kiss one on the forehead, a small but unforgettable moment that perfectly captured the intimacy of the night.
When the lights came up, there was a shared silence among my friends, one of those looks that says everything without needing words. Not only had we just witnessed one of the best shows we’d ever seen, but we knew it was one we wouldn’t stop talking about anytime soon.
Even now, I haven’t been able to move on from their music, still stuck in a post-show loop, trying to hold onto whatever that night was.
If there was ever any doubt, this run proved it: The Neighbourhood are fully, undeniably back. And with the release of (((((ultraSOUND))))), they’re not just revisiting their legacy, they’re expanding it.
So if they ever decide to return to D.C., the message is simple:
“You can call me up… a phone works two ways, you know.”
