For the second time in a week, I’ve had the bittersweet pleasure of seeing one of my favorite bands on their final tour. This time around, I saw the total polar opposite to Brand New: The Dillinger Escape Plan. The band recently released their sixth, and unfortunately final, studio album this October, bringing to a close a nearly perfect discography with one of its strongest entries ever. And now with their swan song tucked away neatly under their belt, the only thing left to do is tear through the world one last time, bringing their violently intense show to cities across the world.

Out of all the places in the world that I could’ve caught this band in, I got to see them in one of their favorite cites and at one of their favorite venues, Philadelphia’s Union Transfer. Philly is already known for having nearly feral audiences, and the band obviously loves and feeds on that energy, as they’ve made sure to visit the venue nearly every year since I started following them in 2010. And this night was no different – having sold out completely, the energy was palpable even as the venue was filling with excited fans, ready to see this band tear the place down for the last time ever. The only exception to the usual Dillinger/Union Transfer combo was that this time around, the venue opted to put up a barrier. The band has made a point of getting the crowd to flood the stage during their final song, and it seems like the venue finally tired of it. But besides that small let down, the night was stacked with a group of diverse and exciting bands, and it was clear that the night would be a thriller.

First up was Cult Leader, a band out of Utah that brought with them a sound heavily informed by the noisier edge of Converge, the sludgier side of death metal, and a big helping of punk. While the venue wasn’t even half full yet, it didn’t put any visible dent in their energy, as they tore through their set with reckless abandon and expertly delivered their pummeling music. In stark contrast to Cult Leader was Car Bomb – following up Cult Leader’s raw, angry edge, it was clear that Car Bomb exists firmly on the other end of metal’s spectrum. The Long Island quartet brought with them a blend of mind-bending time signatures, clinical guitar precision, glitchy effects, and inhuman rhythmic technicality. Yet for all that precision, the band clearly didn’t lack for a punk edge, either. All these things combined makes Car Bomb quite possibly the only real successor to Dillinger’s throne in the wake of their imminent demise, and it’s clear why they decided to take them out on this final round of touring. Finally, perhaps as a way of creating breathing room in the set, Atlanta rockers O’Brother were up next. Veering away from the hard edges of Cult Leader and Car Bomb, O’Brother instead brought a smoky, sludgy, stoner rock vibe instead. While it was clear that some of the energy drained from the room due to their comparatively laid back sound, I already enjoyed some of their music prior to seeing the show and was glad to have the chance to see them and allow my neck a few minutes’ respite from headbanging. And any reservations the crowd had were not shared by the band, as they were fully present and had just as much stage presence as their predecessors.

But as with any great meal, the appetizers should only serve to make you hungrier for the main course, and by this point we were hungry for Dillinger and nothing else. And they were fully aware of that – even though it was clear that the band’s equipment was ready to go, they faked us out by abruptly ending their intro music and starting a fog machine, only to restart the music from the top again. But it only made the band walking out and launching into “Limerent Death” from Dissociation so much more powerful. As soon as the opening chords hit, the surge of the crowd was incredible, and I watched from the rail as several rows worth of people were suddenly compressed into the width of one. They only upped the ante from there, tearing into the classic cut “Panasonic Youth” and fueling the flames even further before coming back down momentarily with the more pop-leaning “Symptom of Terminal Illness”. But there were very few moments of respite built into their set, with “Black Bubblegum”, “One of Us is the Killer”, and the recently revived “Mouth of Ghosts” (which was a highlight of the set, featuring Ben Weinman taking up a spot on the piano while Greg Puciato crooned over his gorgeous jazzy chords) being the only moments one could catch their breath during. Otherwise, the band leaned heavily on Dissociation, which made for quite an emotional night, since many of that album’s lyrics are pretty clearly focused on the creative and personal relationship between Weinman and Puciato, as well as the band’s end. Screaming “Please let me be by myself, I don’t need anyone” from Nothing to Forget or “I’m afraid of how this ends” from Surrogate along with Puciato was a loaded and intense experience, as we all knew exactly what it meant and were in the middle of that very end.

But while they might’ve leaned on Dissociation for obvious reasons, the band knows how to put together a set, and didn’t ignore the rest of their catalog. The band covered everything from Calculating Infinity onward, touching on “hits” like “Milk Lizard”, “Sunshine the Werewolf”, and “Sugar Coated Sour”, as well as the most iconic song in their discography, “43% Burnt”. But as always, their discography wasn’t the only thing they looked to be inclusive about during the night. Greg, Ben, and Kevin Atreassian were unable to keep themselves on stage, taking heroic leaps into the crowd at every opportunity. I’ve been fan girling to myself for the past week over the fact that I got to help hold up both Ben and Greg during the last few songs of the set, over getting to be that close to the people who made the music that’s held ME up in dark times. It’s obvious that the band has so much passion for this music, and so much love and trust placed in their fans, and because of it they truly make their shows a personal experience by getting right in the middle of the shit with us. And even outside of that physical connection, the band is a joy to watch – even during the slower songs, they’re impossible to keep still. Demonstrating insane athleticism, intensity and fearlessness, bands half Dillinger’s age couldn’t hope to match their crazed showmanship even if they were in the middle of a psychotic episode.

But perhaps the realest moment of the show came from one simple sentence from Puciato, just before launching into the classic “Sugar Coated Sour”. He only said, “This is an old one, and it’s your last fuckin’ chance to sing it along with us, Philly”. This was a band very clearly on top of their game in all respects, literally proving it just feet away from me, and knowing that the better ending is always to leave people wanting more. By highlighting the biggest and best songs of their career through this set, as well as hitting us with the most emotional tracks from their newest and final record, the band was showing us exactly what we’re always going to want more of without giving into nostalgia or despair. Instead, we were celebrating together, screaming together, dancing together, all because of this strange, angular, aggressive, sense-assaulting music. This final tour is a precious and fleeting experience, as are all things worth experiencing in life, and you should always fuckin’ sing along like it’s your last chance.