On May 13, 2025, synth-pop heavyweights Future Islands turned the House of Blues in Anaheim into a pulsing, emotional catharsis. Touring in support of their latest release People Who Aren’t There Anymore, the Baltimore quartet delivered a spellbinding set that blended soaring synth melodies with the raw, theatrical intensity of frontman Samuel T. Herring—whose guttural growls and idiosyncratic dance moves transformed the stage into his own expressive canvas.

Kicking off the night was Los Angeles-based rapper and cultural commentator Open Mike Eagle. Known for his cerebral lyrics and wry delivery, Eagle brought a laid-back but captivating energy to the stage. Performing selections from his 2018 EP What Happens When I Try to Relax, including fan-favorite “Relatable (peak OME),” he connected with the crowd through humor, humility, and sharp introspection, setting a thoughtful tone before the synth-driven storm to come.

When Future Islands took the stage, the transformation was immediate. Backed by Gerrit Welmers on synths, William Cashion on bass, and Michael Lowry on drums, Samuel T. Herring commanded attention with his unmatched performance style—equal parts guttural preacher and interpretive dancer. Herring prowled, pounded his chest, dropped to his knees, and spun across the stage with an intensity that made each lyric feel lived-in and urgent.

The band’s setlist pulled from across their discography, including standouts like “King of Sweden,” “The Tower,” and “Ran,” while weaving in deeper cuts and tracks from the new album. Fans erupted for “A Dream of You and Me” and “Seasons (Waiting on You),” the song that famously vaulted them into mainstream consciousness after a viral performance on The Late Show with David Letterman in 2014.

Future Islands formed in 2006 after meeting at East Carolina University, honing a sound that marries shimmering synths with emotionally raw vocals. Over the years, they’ve built a reputation as one of indie music’s most compelling live acts—largely thanks to Herring’s singular presence. His dance style, often described as a blend of mime, metal, and modern performance art, is not merely aesthetic—it’s integral to how the band translates feeling into motion.

The House of Blues' intimate layout proved to be the perfect venue, amplifying the connection between band and audience. There were moments of joyful singalongs and others of quiet reverence, as the crowd seemed to move in step with Herring’s emotional register.

For longtime fans and newcomers alike, Future Islands’ Anaheim stop was a powerful reminder of the band’s unique alchemy: deeply human, defiantly weird, and wholly unforgettable.