Bully broke the mold of XPNFest acts when they hit the Marina stage, delivering a blistering performance full of raw energy and vulnerability. Alicia Bognanno, the powerhouse singer-songwriter behind Bully, brought an intensity that had the crowd fully engaged, heads nodding in sync; the only thing missing was a proper mosh pit. Known for their gritty, post-grunge sound, the band matched the vibrant blue and pink stage lights with equally colorful hair and a setlist that took us on a journey from Bully’s latest record to their 2015 debut and back again.

The performance focused on tracks from Lucky for You, Bully’s fourth LP, an album packed with clever songwriting and bold sonic experimentation that WXPN named their number one album of 2023. Wasting no time with small talk, they dove straight into “All I Do.” The first thing that struck me was how balanced the mix was — each instrument held its ground, with the bass sitting right alongside the lead and rhythm guitar. It all made sense when the bassist cranked up the grit on their guitar for “Where to Start” and caught the audience’s attention. “Hard to Love” showcased Bognanno’s growth as an artist unafraid to push boundaries, experimenting with different guitar techniques. She pulled out an e-bow at one point, holding it against her guitar strings to create an eerie drone that sustained through the line: “I’m too hard to love,” before the bass kicked in, grimy and heavy.

Bully | photo by Elie Pichanick

The entire set was soaked in that late ‘90s punk rock feel—the kind that makes you want to throw your head back and forth, with bass frequencies that slaps you square in the chest. “I Remember” from Bully’s debut album Feels Like was an anthem, the fiery drums and crash hits came in like the drummer’s life depended on it during the chorus. The Marina stage set felt like a culmination of all the lessons Bognanno has learned over the past decade. On “Trash,” her fingers glided up the guitar neck, adding a haunting ambience before the drums kicked in to disrupt it. “Feel the Same” had a more gothic flavor, with the drums carrying the song while the guitarists trailed behind. The urgency was palpable on “Running,” especially when Bognanno hit the fourth, “I worry, I worry, I worry about you,” finishing up a string of songs from Feels Like and Losing.

Bully’s extensive touring with legends like The Breeders and Pixies has clearly left its mark. Every moment of the performance felt deliberate, every action a powerful statement. Though Bognanno mostly let the music do the talking, she did pause to take in the moment. “What a great festival. Seen some seriously solid bands—Jade Bird, what a beautiful voice. The Heavy Heavy—what about it?” she remarked, before diving back into tracks from Lucky for You, bringing the set full circle.

Personal reflections and political statments

Themes of grief and emotional healing ran deep, with Bognanno channeling personal losses into her lyrics. The most emotional moment came during “Ms. America,” where it was just Bognanno and her guitar. The stripped-down arrangement, with light string plucks and harmonies from the lead guitarist, allowed her steady strumming and raspy vocals to shine through. The set closed with “All This Noise,” a power punk-fueled protest song that has Bognanno condemning opportunistic legislators with full-throated defiance. Each track is a signature blend of raw vocals and razor-sharp guitar riffs, forging an unfiltered, deeply felt connection with the audience.

Even after the set ended, the energy buzzed through the crowd. One young fan, standing right at the barricade, was ecstatic during every song—a true punk rock queen. In a heartwarming moment, Kristen Kurtis gave her a shoutout during the closing remarks, and the drummer handed her a setlist. She lit up the entire space, buzzing with more joy than the rest of the audience combined. Kurtis later orchestrated a meetup between the band and the young fan, leaving her with an unforgettable memory after witnessing an inspiring performance.

Amos Lee – “Windows Are Rolled Down” (NONCOMM 2016)