Review: Alex G at Fillmore Philly 10/12/2025
by TC Stephens
Now 10 studio albums into his career, Alex G was reflective at the final show of the Headlights tour in his hometown. His first major label release, the tour’s titular 'Headlights', saw a marked change in Alex G’s discography. It broke away from the lo-fi, slacker sound that has cemented him as a pillar of DIY and indie rock — the separation used to contrast the then and the now. Though cleaner in its production, /Headlights/ grapples with fame, fatherhood, and the future, grounding its reflection in a youthful innocence. Where the album outlined his reflections, the tour was his way of actually feeling them through.
Giant stage lights flared in cadence with the revving engines of “Louisiana” that started the show. Outlines of Alex G and his bandmates blocked the light’s path, their figures the only objects visible in the radiance. When it dimmed, shadows of the stage’s scaffolding cast on a dark blue background, the overlapping silhouettes evoking car rides spent half-asleep as a kid. The entire setup made the show a very intimate experience. It felt as though the crowd were gathered on a local football field for an impromptu show. During more calm songs like “Oranges,” the headlights turned off, leaving only the faint glow of multicolor LEDs wrapped around the scaffolding. Each moment was planned perfectly, bringing the audience in to experience the songs just as Alex G does.
When he wasn’t singing, Alex G spent most of his time turned away from the audience. When he was singing, the back lighting obscured him. He came alive in his eye contact with his bandmates, and when the headlights rapidly flashed in multicolor so he could hardly be seen yelling out. He was not there for his person to be the main attraction — he wanted his songs and their sensitivities to take center stage. About halfway through the show, Alex G sat at his keyboard below the eyeline of most of the crowd and introduced the next song — “we wrote the lyrics to this next song together,” motioning to his bandmates. The song, titled “We Love Philly,” did not go much further than the title lyrically and was largely off-kilter, the type of song made when faced with artist block. In these moments, Alex G’s character shined. He doesn’t need any flashiness to put on a great show, connecting with the audience through an authenticity that can’t be represented in performance alone.
During the show, Alex G got so caught up in the music that he seemingly forgot the crowd was there. Proving himself as a true multi-instrumentalist, he cycled through guitars, keys, and even an accordion for the end of “June Guitar.” It was hard to tell if he had a command on each, or if they commanded him. Before “Is It Still You In There?,” he sat at the piano near the right of the stage, gently playing the keys for minutes as the drummer gently brushed his snare. “We have one more, and then we’ll do our encore” said Alex G before playing the titular “Headlights.” Its ending instrumental was hypnotic, cycling through the riff and highlighting a different bandmate with each turn. Alex G moved between them all, continuously nodding to indicate another repetition. It was a moment that could go forever without complaint, the crowd in awe at the entire band completely in sync with one another.
For the encore, Alex G and his band played not one, not two, not three, but eight songs. After “Far and Wide,” Alex G was bombarded with song titles from nearly everyone in the crowd. “Play Sarah!” from the left, “Snot!” from the middle, “Harvey!!!” throughout the venue. The more requests came in, the deeper into his discography he went. “We’re going to play three more… and you’re going to hate all of them” after some whispers between him and his bandmates. Whether an act of defiance or tastemaking, Alex G knows the rhythm at which his songs revolve through the cultural canon. They may be screaming for “Harvey” now, but when “Boy” blows up on TikTok two years down the line, they’ll be glad they heard it.
Giant stage lights flared in cadence with the revving engines of “Louisiana” that started the show. Outlines of Alex G and his bandmates blocked the light’s path, their figures the only objects visible in the radiance. When it dimmed, shadows of the stage’s scaffolding cast on a dark blue background, the overlapping silhouettes evoking car rides spent half-asleep as a kid. The entire setup made the show a very intimate experience. It felt as though the crowd were gathered on a local football field for an impromptu show. During more calm songs like “Oranges,” the headlights turned off, leaving only the faint glow of multicolor LEDs wrapped around the scaffolding. Each moment was planned perfectly, bringing the audience in to experience the songs just as Alex G does.
When he wasn’t singing, Alex G spent most of his time turned away from the audience. When he was singing, the back lighting obscured him. He came alive in his eye contact with his bandmates, and when the headlights rapidly flashed in multicolor so he could hardly be seen yelling out. He was not there for his person to be the main attraction — he wanted his songs and their sensitivities to take center stage. About halfway through the show, Alex G sat at his keyboard below the eyeline of most of the crowd and introduced the next song — “we wrote the lyrics to this next song together,” motioning to his bandmates. The song, titled “We Love Philly,” did not go much further than the title lyrically and was largely off-kilter, the type of song made when faced with artist block. In these moments, Alex G’s character shined. He doesn’t need any flashiness to put on a great show, connecting with the audience through an authenticity that can’t be represented in performance alone.
During the show, Alex G got so caught up in the music that he seemingly forgot the crowd was there. Proving himself as a true multi-instrumentalist, he cycled through guitars, keys, and even an accordion for the end of “June Guitar.” It was hard to tell if he had a command on each, or if they commanded him. Before “Is It Still You In There?,” he sat at the piano near the right of the stage, gently playing the keys for minutes as the drummer gently brushed his snare. “We have one more, and then we’ll do our encore” said Alex G before playing the titular “Headlights.” Its ending instrumental was hypnotic, cycling through the riff and highlighting a different bandmate with each turn. Alex G moved between them all, continuously nodding to indicate another repetition. It was a moment that could go forever without complaint, the crowd in awe at the entire band completely in sync with one another.
For the encore, Alex G and his band played not one, not two, not three, but eight songs. After “Far and Wide,” Alex G was bombarded with song titles from nearly everyone in the crowd. “Play Sarah!” from the left, “Snot!” from the middle, “Harvey!!!” throughout the venue. The more requests came in, the deeper into his discography he went. “We’re going to play three more… and you’re going to hate all of them” after some whispers between him and his bandmates. Whether an act of defiance or tastemaking, Alex G knows the rhythm at which his songs revolve through the cultural canon. They may be screaming for “Harvey” now, but when “Boy” blows up on TikTok two years down the line, they’ll be glad they heard it.
