Pinoy pride has always been a thing. Having a world-famous, accomplished kabayan is always reason to celebrate. That pride was especially strong on Sunday, May 10, when, for the first time, Pixies, the seminal alternative-rock band co-founded by Filipino-American guitarist Joey Santiago alongside vocalist and guitarist Black Francis, bassist Kim Deal, and drummer David Lovering, performed in the Philippines as part of its 40th anniversary world tour.
“Seminal” may be an overused term in music journalism, but there seems to be no other word more qualified to describe the Pixies. The band, after all, helped lay the groundwork for ‘90s grunge and alternative rock. The loud-quiet-loud dynamics you hear in The Smashing Pumpkins’ “Today” and in “Paranoid Android” by Radiohead? You can thank Pixies for directly influencing them — the bands themselves have openly acknowledged Pixies’ influence as fact.
Kurt Cobain, too, cited Pixies as pivotal to Nirvana’s sound, once admitting he was “basically trying to rip off” the band while he wrote “Smells Like Teen Spirit.” In the same 1994 interview, Cobain also said listening to the Pixies album Surfer Rosa was a “turning point” that changed his attitude toward music.
It felt surreal to see Pixies’ founding members — sans its former bassist — take the stage and play a full live set, starting with “Cactus.” The momentum escalated quickly as the opening riff of “Wave of Mutilation” blasted through the speakers, followed by “Isla de Encanta,” from Come on Pilgrim.
From there, the band moved into staples from its 1989 breakthrough Doolittle: “Monkey Gone to Heaven” and “Hey,” its slow, gritty, prominent bassline — delivered by relatively new bassist Emma Richardson, who joined the band only in 2024 — setting the bluesy feel and rhythm for the entire track.
The energy in the room spiked again as an all too familiar jagged yet lively guitar pattern ushered in another song, followed by Black Francis hollering into the mic: “Got me a movie, I want you to know…” The audience soon enough sang along with Emma as backup, saying “Debaser.”
The setlist — or seeming lack of one — heightened the audience’s sense of anticipation, with every opening chord or bassline arriving as a surprise. Except for the time Black Francis introduced each band member, concluding it with “Joey Alberto Santiago from Manila, Philippines,” which prompted the crowd to cheer and scream to the top of their lungs, there was little in the way of perfunctory banter in between songs. Pixies basically barreled through every song, one after the other, including “U-Mass,” “Caribou,” “Gouge Away,” and “Velouria.”
On stage, Black Francis was an unapologetically irreverent yet enigmatic evangelist. Joey’s guitar playing was beautifully chaotic. Expressive but not flamboyant. Skilful but not overly technical. You didn’t just hear it; you felt it.
Emma proved both a worthy contributor and a pleasant surprise throughout the set, stepping forward on vocals at key moments while locking tightly with the drummer. Dave, even at 64, was a powerhouse behind the drum kit.
“Gigantic,” the beloved single written by former bassist Kim Deal — was notably absent from the set. Still, its omission did little to diminish the value of every minute spent in the band’s presence.
No one needed to say, “Sing with us!” to coax the audience to join in. People sang in unison instinctively — out of their own volition — as if jointly pulled by an invisible force. The audience’s participation in the band’s performance of “Where Is My Mind,” in particular, was stirring to the point of hair-raising; a legion of fans swaying in rhythm and singing falsetto backing vocals sounding like a chorus of holy ghosts. For those few minutes, every single person in the room moved as one.
More than a show, the concert was a reunion of sorts — a gathering of local musicians, creatives, and music fans you might have crossed paths with at gigs a decade ago — some with their kids in tow on this particular evening. On a Sunday night, they emerged from their respective corners of adulthood to witness the long-awaited performance of a band nearly as old as — if not older than — many of them. They came not out of mere fandom or nostalgia, but out of a deep appreciation for the music and respect for a group that helped define the contours of modern rock.
While Pixies may not have attained the same level of mainstream commercial success as the bands it influenced, it stands its ground as one of the most revered acts of its era. Its place in music history remains firmly intact.
Pixies Live in Manila was produced by Karpos Live.
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