A Coheed and Cambria tour is something you must experience live at least once. Few other shows compare. With Foxing’s earnest opening, Taking Back Sunday’s nostalgic set filled with Fred-era songs, and Coheed’s dazzling biker-skeleton spectacle, this Skyline Stage stop at The Mann landed like a blockbuster show with the intimacy of a hometown gig.
The Venue and Arrival
Philadelphia’s Highmark Skyline Stage at The Mann may be the most striking outdoor venue I’ve visited. Nestled in Fairmount Park, it earns its name from the view: the city’s skyline revealed in full once inside the gates. As a local who has visited Philadelphia countless times, I’d never seen the skyline framed quite like this. Much like Hoboken’s vantage on Manhattan, this perspective gave me a new appreciation for the city I’ve seen dozens of times, but never quite like this.
Entry was a breeze. The doors opened at 5:30 PM, and the grounds buzzed an hour later when the music started.
First Act: Foxing
Foxing started with an experimental set awash with unique textures and impressive falsettos from the lead vocalist. The band members leaned into humility, often referring to themselves as “the band you didn’t come to see.” And while I’ll be honest, their style of music didn’t resonate with me, their humility made them easy to root for.
The sun dipped lower as Foxing ended, and the crowd tightened up, ready for the night’s first big nostalgia hit.
Second Act: Taking Back Sunday
The return of Fred Mascherino, stepping in for John Nolan, gave a special touch to Taking Back Sunday’s set. It was a historic moment for longtime fans: Fred hadn’t been onstage with the band for nearly twenty years. That this tour passed through his hometown area made it even more emotional. At one point, Fred was emotional as he recalled the moment he got the call asking him to fill in on the tour.
The set list leaned into Fred-era songs, tailored to celebrate his return. Adam Lazzara often seemed buoyed by his old bandmate’s presence. He danced across the stage, swung his mic with abandon, and brought energy that reminded me of the band’s early days. There were moments when his vocals dipped in clarity, likely because of his constant movement rather than the mix, but his fun personality made up for it.
Cameras swung between band close-ups and wide shots of the pit, layered with color washes that made the crowd glow as much as the stage.
TBS’s set fed the nostalgia, but Coheed’s arrival was a different energy: precise, theatrical, and heavy.
Third Act: Coheed and Cambria
If Taking Back Sunday leaned on nostalgia, Coheed and Cambria went for sheer scale. Their set began with technical precision, every note locked in so tightly it felt like listening to the record. But it wasn’t just the sound that stunned; it was the visuals.
Drummer Josh Eppard stated on our podcast that ‘the imagination will be on full display’ this summer, and he wasn’t exaggerating. Midway through the set, the crew unveiled an enormous inflatable biker skeleton with LCD eyes. It ranks among the most impressive stage visuals I’ve seen, second only to the laser spectacle of Linkin Park’s recent From Zero tour.
Live, the songs carried a weight the studio can’t capture. Claudio Sanchez’s voice hasn’t lost a step in twenty years, soaring above the band’s intricate arrangements with clarity and power.
Moments like A Favor House Atlantic brought the crowd into full chorus, turning the Skyline Stage into one giant sing-along. By the time Welcome Home closed the night, it was clear: Coheed is at its best when given the space to headline. Compared to their opening slot with Incubus in 2024, this show was a massive step up in production and scope, showing they thrive when they don’t have to squeeze into an opening set.
Sound and Mix
The Mann’s acoustics make it well regarded, and the sound on the Skyline Stage, separate from the central pavilion, also met expectations. From my initial vantage point near the FOH tent, the mix sounded balanced and clear. With Minuendo Live earplugs in, every detail came through sharp.
The sound remained clear even on the right side of the stage, near the ADA section. Coheed’s mix carried the polish of the record, while vocally, TBS only stumbled when Adam’s energy caused him to be distant from the mic.
Crowd and Atmosphere
The crowd was not without flaws. Energy was high, and sing-alongs came often, but despite The Mann’s smoke-free policy, the air was thick with drug smoke, forcing me and others, including a pregnant woman, to move. At one point, a fan even blew smoke into the faces of nearby people. It was frustrating, especially with kids nearby.
The encounters weren’t all bad, however. I met Alex, a longtime fan who was bringing his son to his very first concert as a late birthday gift. Alex’s presence showed how easily these bands still cross generations. The staff, for their part, were friendly throughout, though more active enforcement of the listed smoke-free policy would have helped.
Verdict
You can best sum up the night in Philly with three distinct arcs: the humble opener, a nostalgic mid-set, and a headliner in full flight. Coheed and Cambria’s shows play like the next act in the saga they’ve built for decades. I’ve seen Coheed and Cambria twice now. Each instance showed: Few musical acts captivate both ears and imagination like this, and under the Philadelphia skyline, it felt even larger.
