In an era marred by diminishing concert etiquette, especially at all-ages shows, Malcolm Todd’s June 14 show at The Van Buren in downtown Phoenix was a refreshing take on alternative rock that balanced the smoothness and energy necessary for a compelling show.
The last night on the road for Todd and his band’s The Wholesome Rockstar Tour will wrap up their time on the bus with a trio of shows in Los Angeles, the city where the rising artist hails from.
Any road fatigue wasn’t apparent, though, as he and the band achieved an ideal balance of their mellow soft rock doused in reverb with thunderous anthems every voice in the sold-out venue knew by heart.
The show began with a lengthy, energetic opening DJ set from Sophie Gray featuring mixes including Sexxy Red and Playboi Carti, herself accompanied by shirtless frat-type groupies interpretive dancing around her.
The youth of this crowd was immediately apparent, which Todd himself later acknowledged by discussing his chemistry woes and the beacon of light his guitar represented in his life — he did reassure fans to stay in school, though, self-depricatingly joking, “You don’t need more of me.”
Malcolm Todd lookalikes, height measuring contests and what felt like a scene straight out of the 2024 film “Snack Shack” — high schoolers plotting an elaborate beer heist behind enemy (venue) lines, to no avail — filled these opening moments before Todd took the stage a few minutes after 9 p.m.
Malcolm Todd surrounded by phones and fans.
@MalcomTodd Instagram screenshot
Backed by two guitarists, a bassist and a drummer, The Wholesome Rockstar Tour is clearly focused on bringing their arrangements to energetic life. The tunes themselves, funky and huge but also imbued with longing, are guitar-driven above all else. An excellent writer of melody, Todd seems to have found a niche in which he can’t write an unenjoyable track.
Opening with a few of his newer cuts — “Harry Styles,” “Make Me a Better Man,” “Bleed” — makes clear the subtle transition Malcolm Todd is making following the release of his self-titled debut studio album in April.
Todd’s roots have always seemed to lie in alternative R&B, especially when looking at the grooves he occupies, but his newest album feels more introspective and indie, and undoubtedly more rock.
In both styles, his soft vocals shine in pairing with these soundscapes, marked by electric chords and put-together harmonics. Strangely, I even hear a lot of mellow singer-songwriter Jack Johnson in his vocals.
Hits like “4Me 4Me,” “Chest Pain (I Love)” and “Sweet Boy” were early highlights among a set packed with each era of Todd’s young career. Nothing felt out of place, either. His are songs meant to be played live & electric; it’s about as safe a good show as it gets.
Through all these tracks, the hits to the deep cuts, fans were raucous but respectful. This energy was matched by moments of whimsy from the performers themselves, with a cute moment of the band’s camaraderie during an intimate a cappella cover of “Our House” by Crosby, Stills, Nash & Young.
The energy picked back up for the finale with a visceral performance of “Roommates” that felt like a final release of energy for the end of the tour. Its rowdiness rocked the packed venue from front to back.
On the way out, as fans continued the song (among others) a cappella amid the claustrophobic rush to the venue’s exit, one fan even proclaimed, “I deadass jumped out of my Timbs.”
I’d be hard-pressed to find someone who wouldn’t have a pretty good time at a Malcolm Todd concert. Most Phoenix fans knew every word to every song (this demand is reflected in the triple-digit entry cost, which is more than I observed for most of his shows), but you could go in without a single prior listen and still leave fulfilled.
It’s hard not to like Todd, who’s occupying a fresh, fun lane within his blend of alternative R&B and rock. At times cinematic, at times explosive and at all times infectious, Malcolm Todd has a little something for everyone. More than anything, his songs roll.
I really wish those kids would’ve tried that beer heist, though. Now that would’ve been an ending.
