Photo by Tali Moller
Yo La Tengo, formed in 1984, has maintained its presence in the indie-rock industry, cultivating a strong cult following over the years. Vocalist and guitarist Ira Kaplan and percussionist and vocalist Georgia Hubley were a couple and founded the band, taking the name “Yo La Tengo” from a silly baseball anecdote that reflects their offbeat charm. The addition of bassist James McNew in the early ’90s locked in the trio’s easygoing chemistry, the same down-to-earth, magnetic vibe they still bring to the stage today. I had the opportunity to catch Yo La Tengo at Solano Beach’s Belly Up on May 6th, the eighth stop on their US Spring 2025 tour. The illustrious 80s/90s indie-rock band brought the audience on a journey through their two-part show, sweeping from a mellow set full of percussion and melodic tunes before descending into the rock-induced final set.
The illustrious Yo La Tengo entered the stage humbly in their everyday outfits and with a friendly, real energy, signaling that their decades-long popularity has had little effect on this truly original band. They opened with a long instrumental journey before easing into their soft, almost whispered vocals on “This Stupid World,” the title track of their 2023 album. Like in many of their past live performances, the band let their instrumental sections stretch out, often holding off on singing for minutes at a time, as if savoring the space between notes. The heavy bass by James, complemented by the blissful percussion played by the beloved Georgia, made for a calming trance that overcame the audience. Ira seemed wrapped in his world, as his guitar and rich, deep voice drew me into his passionate space. Georgia, piping in occasionally with background vocals, showcased her peaceful and raw tone; it had me begging for a solo song. As her voice elevated each track, I started imagining her singing a divine lullaby.
When we got a break from the tunes, the band began engaging with the audience, sharing that they’ve been to San Diego a lot and used to dread it, but “times change,” they said, which was met with a proud cheer. Finally getting a larger taste of Georgia’s vocals, they began “Aselestine,” a fan favorite, or at least a Freya favorite. The calm and moody song, with her velvety vocals, was the perfect crowd-pleaser after the longer instrumental journey. I must give credit to the band for their long-time creativity, which shines through in their experimentation with instruments, and is seen on stage as they were surrounded by all types of percussion, pianos, and guitars. Despite playing at Belly Up, a grungier venue, the early set carried a surprisingly serene and meditative energy.
Picking up the pace a bit, the band launched into groovy yet lo-fi beats with “Apology Letter,” which had me happily bobbing my head along. As the rhythm built, so did Ira, passionately strumming his soprano, high-hitting electric guitar. The crowd grew more involved, responding with whoops and yells that fed the band’s high energy. Closing out the first part of their set, they played “Miles Away,” the final track on This Stupid World. To my delight, Georgia took center stage, pushing the guys into backup roles. Her peaceful, calm energy wrapped the crowd in a blanket of silence as fans listened eagerly. After the song, much to my surprise, the band paused and announced they’d return with more music after a short intermission. It’s rare for artists to give an intermission during a set, but I have to say, it was a welcome break, perfect timing for a quick bathroom and water run, and it set the stage for an even stronger second half.
For part two of the set, the “loud” set, the band rejoined the audience, coming onstage with a newfound energy, ready to take on the rest of the night. From the first song, “Sinatra Drive Breakdown,” it was clear we had shifted gears to their more upbeat alternative rock tunes. Ira’s guitar playing became intense and deeply involved; he was clearly lost in the music, making it impossible not to get absorbed just watching him. Georgia was entrancing on the drums, playing with force while anchoring the band with rhythmic precision. This part of the set highlighted each member’s versatility, as they continually rotated between roles of guitarist, pianist, and vocalist. James took over the mic for “Stockholm Syndrome,” marking his first lead vocal of the night. Following that, “The Weakest Part” brought the trio together for a sweet, unison “La La La La La La” harmony that felt like a powerful moment of connection.
As the second part of the set continued, intense bass lines pulled the crowd even deeper into the groove as the band seamlessly threaded songs together. Bright yellow lights cast across the crowd signaled the end of each track, while the audience responded with cheers and movement, feeding off the band’s kinetic energy. During one particularly electrifying moment, Ira launched into the next song with a dramatic guitar flip, fully immersed in the raw intensity of the sound.
Following the main set, the band returned for a well-received encore. They opened with the heavy-hitting rock track “Some Kinda Fatigue,” which had the audience moving with lively momentum, driven by powerful drumming and slamming electric guitar. After a brief exchange with the crowd, the band asked for a song request. A nearby audience member shouted out “Come See Me” by The Pretty Things, and the band gladly obliged. Georgia briefly stumbled at the start and offered a quick apology before continuing with her signature sweet and understated vocals. After a couple of lighthearted restarts led by Ira, the trio found their rhythm and closed the night on a warm, sincere note, a fitting conclusion to a set that masterfully balanced chaos and calm in a way only Yo La Tengo can.
The evening took me on a rollercoaster ride, experiencing the songs I listen to in bed to calm me down and the ones I blast in the car to boost my mood. Yo La Tengo delivered a well-performed set that showcased their undeniable musical talent and chemistry. What was lacking, however, was the artistic flair in their outfits and stage design, elements that could have elevated the experience beyond just the music. Still, the authenticity and brilliance they brought to the stage were a reminder that for Yo La Tengo, the magic has always been in the music.