Oceanic, Borderline, Wall Carpets
PhilaMoCA
531 N 12th St.
Philadelphia
April 25, 2026
I’ve seen shows at PhilaMoCA pretty frequently over my 15 years living in this city; I’ve always loved and respected just how open to everyone and everything this Philadelphia institution has been. Off the top of my head, I know they’ve hosted performances from comedy legend Emo Philips, LA hardcore titans Ceremony, Philadelphia singer/experimental artist Sovei (fka Justmadnice), LA pop artist Cowgirl Clue, and Sun Ra saxophonist and jazz great Marshall Allen, to name a few.
I say all of this to say that you never really can pinpoint what’s going to happen at PhilaMoCA if you’re there with no context, as was the case for me at this show. I, however, live for new musical experiences, and boy did I have some at this gig. Once doors hit and tickets were scanned, the enthusiastic young crowd didn’t have long to wait before New Jersey semi-locals Wall Carpets took the stage. I saw a few people wearing their merch as they entered, and once they started it was so much screaming from the audience you would’ve thought from outside that The fucking Beatles were playing.
Wall Carpets have a devoted group of listeners. I’m talking about every word to the songs being sung in the crowd for this young indie/alt band whose jaunty sound hit me something like that of a band like The All-American Rejects. Honestly, I could see Wall Carpets opening one of those backyard shows they’ve been doing lately. At one point, drummer/vocalist Trevor had the entire audience crack their knuckles, which I really liked. I’m gonna have to remember that one. Great crowd work.
Up next were indie/soul band Borderline from New Zealand, but before I get to them, I need to tell a side story. I’m working the door for this gig, okay? So I have to scan tickets, stamp hands, sell drinks, all that stuff. I know that Galaxy Gas is technically not illegal, but bruv, it’s teenagers in here. I feel like I shouldn’t have to tell you that you can’t bring nitrous into the venue. Furthermore, a suitable response is, “Oh, my bad, let me stash this somewhere outside the venue.” An unsuitable response is to hit it again and then say in the nitrous voice, “Oh this? This ain’t nothin’!” Hands empty of a Galaxy Gas container is nothing. Hands holding a Galaxy Gas container is, in fact, something. Lastly, all of this after trying to slip by without paying is truly unbelievable work. I would speak to your mother if I could.
Anyway, as Borderline moved through their set in front of a literally glittering backdrop, they also took the time to balance vibes reminiscent of Tame Impala and Omar Apollo with their own very effective style of crowd work in the form of storytelling over light improvisation. I’m telling you the audience was eating this night. A cover of Prince’s “Kiss” sent everything up a level before their bassist, whose tone I have to say was immaculate, switched to saxophone for their last song, basically sending the crowd into an uproar. I also have to say, I never get tired of hearing “Philadelphiar” in the Kiwi accent, nor do I tire of the confusion at the chants of “GO BIRDS.” This city is as hilarious as it was bewildering to hear a medley that began with Nina Simone’s “Feeling Free,” into Blackstreet’s, “No Diggity,” before concluding with Eminem’s “Without Me.” What would possess someone to put those songs together?
Oceanic, the tour’s co-headliner, finished up the night with their own brand of funky pop indie that was less soulful and more atmospheric. Think Coldplay and A Great Big Pile Of Leaves style. This band’s understanding of technology is far ahead of most, using their background less as a digital banner and more as a sophisticated interactive experience to complement their live show. Not only would the background show the lyrics for each song in real time, but at one point, the band started playing Wii Sports’ bowling game on it mid-song. I have seen a lot of shit in my time in music, but that was a new one. Oceanic’s vocalist Nate Wyatt croons like the best of them with a falsetto that would elevate any song as a backing vocal. Another crowd work expert, dude’s comedic timing was rock solid as he asked the crowd for no less than a “metric fuckton” of noise, which they promptly produced. Their website also shows a deep understanding of technology and its kinda fun to navigate.
