Portugal. The Man Shake Up Philadelphia

Union Transfer gathered under the full moon this Thursday, dancing and howling the night away with Portugal. The Man.

Yes, you read that right on both counts: Portugal. The Man played Union Transfer, and there was howling involved. Touring in support of their recent album, Shish, the band have been hitting a lot of smaller venues on this run. They could easily fill bigger rooms (UT was sold out, of course) but I can’t help but feel that some of the intimacy and immersion of their show would be lost in larger spaces.

A number of screens lined the back of the stage, and at times it felt like we were in a movie theater, with the videos playing behind the stage ranging from a whale swimming in the sea to simulated disasters and bursts of smoke and flames. Add to that the strobing lights, fog, and pounding music, and you had no choice but to be transported into whatever world Portugal. The Man sends you to.

There was also a short film played right before the band walked on stage, walking us through the perilous existence of humankind, but also offering an introduction into the show. Various clips from movies and wildlife footage overlapped to add to the sense of chaos, but my takeaway was an immediate want to connect. With nature, with childhood films, and with everyone around me. It also made the appearance of the band that much more exciting, with the crowd’s anticipation bursting into a loud roar as Portugal. The Man emerged from the fog.

If (like me, admittedly) your first taste of Portugal. The Man was from their 2017 breakthrough song “Feel It Still,” which was absent from their Philly set, you may be missing out on the full depth of the band. Their latest album Shish, released a couple of weeks ago on November 7, is deeply reflective, offering frontman John Gourley’s perspective on being raised in Alaska, raising his daughter Frances, and the world at large. It blends elements of pop, experimental punk, and psychedelic grooves across 10 tracks to create a nonetheless cohesive project.

Although the band is officially made up of Gourley and his wife Zoe Manville, they’re touring with a group of talented musicians, ensuring that the stage never contained less than seven people. Members of Snacktime came out to play with them on several songs as well, subtly adding horns to the already-packed ensemble on stage. While a distinctly Philly collab, the two bands are no strangers, having toured together in 2024. Joining them on this tour is La Luz, a rock band from Seattle. Their set was full of delightful riffs and guitar solos, with visuals that really leaned into a psychedelic trip.

Portugal. The Man breezed through their expansive discography almost without pause. They still managed to say a lot, opting to do so with their actions instead. Before the band took the stage, a representative from Artists Against Apartheid spoke to the crowd, applauding Portugal. The Man for using their platform to support the organization and its mission, while acknowledging that it’s not always without risk. There were information tables in the venue lobby as well, with further reading material on current issues around the globe for interested fans. After coming out for the encore, Gourley also took a moment to talk about Pass The Mic, a foundation started by the band and focused on building community through music and art across the board, with specific emphasis placed on uplifting Indigenous people.

The set was divided into three parts, with almost all of Shish being played in the first act. They dived into some of the other discography during the second act, including “Glide,” their collaboration with Swedish collective Neiked. The third act saw a return to Shish with “Tanana” and “Father Gun.” To end the night, they brought out Snacktime once again to burn the house down with a cover of Rage Against the Machine’s “Killing in the Name.” Covers are all on our minds here at XPN, and this one has made it to my personal list of favorites, even if just because the entire crowd sang along, screaming “Fuck you, I won’t do what you tell me” in a moment of euphoria and rage.