The Summer Set lit up Big Night Live with a nostalgic, high-energy set, blending fan favorites and new material into an unforgettable Boston night.
The first band of the evening was Good Boy Daisy. For identical twins Hallie and Dylinn Mayes, forming Good Boy Daisy wasn’t just a band, it was a natural extension of their lifelong bond. Hailing from Scottsdale, AZ, the sisters created the band in 2015, carving out a unique space within the indie rock landscape. While their sound pulses with vibrant pop sensibilities, the raw energy of their ’90s grunge upbringing remains a potent undercurrent, fueling their dynamic performances.
Good Boy Daisy took the stage at Big Night Live as part of a stacked lineup. What could’ve easily been a typical opening slot instead turned into one of the night’s most memorable stretches—brief, punchy, and bursting with personality.
From the moment they stepped onstage, Good Boy Daisy leaned into a kind of effortless charm that felt perfectly suited for Boston’s crowd. There was no overproduction, no attempt to outshine the headliner—just tight musicianship and a clear sense of identity. Their sound, rooted in bright indie pop with subtle alternative edges, translated cleanly in the live setting, trading studio polish for something more immediate and alive.
hat made their performance stand out wasn’t spectacle—it was sincerity. In a lineup filled with high-energy acts, Good Boy Daisy carved out their own lane by keeping things grounded and authentic. It felt less like a performance trying to win over a crowd and more like an invitation to be part of something quietly building.
With new music on the horizon and an unwavering dedication to their live shows, Good Boy Daisy continues to forge their own path, delivering a sound that’s both intimately personal and undeniably powerful.
The next band of the evening was People R Ugly. The band consists of Zak Dossi, Bill Biersy, Julian Delgrosso and Tristan Kevitch.
Taking the stage as direct support, the band wasted no time breaking through the usual “middle-of-the-bill” barrier. Their opener, “SLEEP TALKING,” hit fast and loud, immediately establishing a chaotic, high-energy tone that contrasted sharply with the more polished acts around them. From there, the set unfolded like a controlled spiral—equal parts pop-punk, alt-rock, and glitchy hyper-pop influence, all colliding in a way that felt intentionally messy but never unfocused.
The highlight came near the end, when they tore into a cover of “What’s Up?”—a left-field choice that could’ve fallen flat, but instead turned into a full-room singalong. It was chaotic in the best way: voices slightly off-key, energy spilling over, and the kind of shared moment that smaller venues like Big Night Live are built for.
The crowd response mirrored the band’s energy curve. What started as mild curiosity quickly shifted into genuine engagement—heads nodding, people pushing closer to the stage, and by the final songs, a clear sense that they had won over the room.
In Boston, People R Ugly didn’t just fill a slot on the lineup—they disrupted it. And in doing so, they left behind the kind of impression that lingers longer than a technically perfect set ever could.
The next band of the evening was Senses. An American Pop rock band formed in Los Angeles, California in 2019. The band was founded by Madison Taylor (vocals, guitar) and Nick Sampson (drums). The group initially released music independently before signing with Hopeless Records. They have released two extended plays, Take Me Out of Here (2023) and I’m Still Breathing (2025), and have toured in North America.
From the moment they walked onstage, it was clear the night was about to shift. Where the earlier sets leaned into chaos or charm, Senses aimed for connection—and hit it almost immediately. Opening with a burst of bright guitars and punchy drums, the band established their signature balance of pop-rock catchiness and emotional weight. Frontwoman Madison Taylor anchored the performance with a mix of vulnerability and confidence, delivering lyrics that felt personal without ever losing their punch. Her voice carried cleanly through the venue, equally effective in softer, introspective moments and louder, more anthemic choruses.
What made the set stand out was how naturally it translated from record to stage. Known for blending pop-punk and emotionally driven songwriting , Senses brought an extra layer of urgency live—songs hit harder, tempos felt sharper, and the emotional highs landed with more weight. Tracks from their recent material felt especially alive, shedding studio polish in favor of something more immediate and human.
The pacing worked in their favor. Rather than going full throttle the entire time, the band allowed space for dynamic shifts. Mid-set, things pulled back into more stripped-down territory—guitars ringing out, vocals front and center—before building back into explosive choruses that had the crowd fully locked in. It created a push-and-pull that kept the room engaged from start to finish.
The crowd response was one of the night’s defining elements. Early on, there was movement—people edging closer, phones going up—but by the halfway point, it had turned into full participation. Singalongs broke out organically, especially during the band’s more melodic hooks, and by the final stretch, the energy felt unified rather than scattered.
Instrumentally, Senses stayed tight without feeling rigid. Nick Sampson kept the rhythms driving and punchy, while the guitar work balanced clarity with just enough grit to keep things grounded in their punk influences. Nothing felt overcomplicated—every part served the songs.
By the time they reached their closing moments, the set didn’t feel like it needed a dramatic encore or over-the-top finale. Instead, it ended on the same note it started: direct, emotional, and sincere.
In a venue known for high-energy shows, Senses proved that connection can be just as powerful as chaos. Their Boston performance wasn’t about spectacle—it was about honesty, and that’s exactly what made it stick.
The final band of the evening was The Summer Set. American pop rock band from Scottsdale, Arizona. The band consists of lead vocalist Brian Logan Dales, guitarist John Gomez, bass guitarist Stephen Gomez, and drummer Jess Bowen. The Summer Set was signed to The Militia Group in 2008, Razor & Tie from 2009 to 2011, and to Fearless Records from 2012 to 2017. The Summer Set has released four full-length studio albums: Love Like This (2009), Everything’s Fine (2011), Legendary (2013), Stories for Monday (2016), and Meet Me At The Record Store (2025). The band toured with numerous musical acts, including the Cab, We Are the In Crowd, Mayday Parade, Sleeping with Sirens, All Time Low, the Downtown Fiction, and Action Item. The band was on hiatus from October 2017 to August 2021.
In early 2025, the band began teasing new music and a new upcoming album release via their Instagram. On April 11, 2025, they announced their 6th studio album, Meet Me At The Record Store, would release on August 15, 2025.[21] The album’s first and lead single, “ADIDAS”, released the same day. The album’s second single, “What I’m Made Of”, released on May 16, 2025.
They opened with urgency, diving straight into bright, hook-heavy material that immediately pulled the crowd in. From the first chorus, it was clear this wasn’t just another stop on a tour—it felt like a reunion. Fans who had followed the band for years sang every word, while newer listeners quickly caught on, drawn in by the band’s undeniable sense of melody and movement.
Frontman Brian Dales carried the set with an easy, natural charisma. There was no forced crowd work, no over-rehearsed speeches—just genuine interaction and a clear appreciation for being back onstage. His vocals leaned slightly rougher than their studio counterparts, but that worked in the band’s favor, giving the performance a lived-in, emotional edge.
The setlist balanced eras well. Older tracks like “Chelsea” and “Boomerang” triggered the loudest reactions, turning the venue into a full-room singalong, while newer material held its own with a more polished, modern pop-rock feel. The transition between the two never felt jarring—instead, it highlighted how consistent their core identity has remained.
What really stood out was the pacing. The band understood exactly when to push and when to pull back. High-energy stretches—jumping, dancing, nonstop choruses—were broken up by slightly slower, more reflective moments that gave the crowd space to breathe without losing engagement. It created a rhythm that felt intentional rather than chaotic.
The crowd played a huge role in shaping the night. Big Night Live, with its club-like intimacy, amplified every reaction—every lyric shouted back, every beat felt physically. By the final stretch, it wasn’t just a band performing; it was a shared experience, driven as much by the audience as the stage.
Closing out the set, there was no need for over-the-top theatrics. The final songs felt like a natural high point rather than a forced climax—leaving the room buzzing, not exhausted.
In Boston, The Summer Set didn’t try to reinvent themselves. They didn’t need to. Instead, they leaned fully into what they’ve always done best: writing songs that stick, performing them with heart, and creating a space where nostalgia and the present collide.
And for one night at Big Night Live, that was more than enough.
The Summer Set
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Senses
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People R Ugly
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