LIVE REVIEW: Blue October in Portland, ME (11.23.25)
“This is what [we] live for;” nights like Sunday when Blue October took their “We Didn’t Die Young” Tour (alternatively, the “Hot Stuff” Tour) to State Theatre in Portland, ME for an emotional hour and 45-minute set that spanned the depths of their 30-year career.
Eclipsed by bright spotlights on a blue backdrop, the band seemed to materialize on stage as gentle strings lulled and coaxed the start of the set. The airy “Further Dive (The House That Dylan Built)” joined in with the violin and ebbed and flowed in a pretty and powerful ballad. Further layering on the levels of sound, “This Is What I Live For” followed, with lead singer Justin Furstenfeld singing directly to the audience.
“When we played here 15 years ago, there were eight people here. So, thank you,” Furstenfeld said before starting into “Coal Makes Diamonds.” His characteristic vibrato when he opens up, paired with the wavering backing harmonies, provided a swirling soundscape enhanced by enveloping lights. “I love that you’re in my life, thank you for being here,” the always appreciative Furstenfeld added during the slow parts.
The piercing strings cut through the darkness of the distorted vocal effects on “The Way I Used to Love You,” offering a glimpse of hope amid such a dismal song. Followed by another This Is What I Live For track, “Only Lost Is Found,” Furstenfeld danced across the stage, acting out and feeling every beat from his brother Jeremy Furstenfeld’s drum pad.
Lightening the mood, Furstenfeld grabbed his guitar for the danceable “Sway.” The twinkly riff and Matt Noveskey’s bouncing bass act as an invitation for the seated fans to stand and get into the groove.
“We’re going to play as many songs as we can. Let’s have a good time,” Furstenfeld kept it brief to pack in all of their hits, following his quip with 2006’s “Into the Ocean.” The last holdouts rose to their feet, embracing the nostalgia and singing along. Ending with Ryan Delahoussaye’s whirling violin, Furstenfeld told of his gratitude that Delahoussaye didn’t attend Berklee College of Music so he could be in the band when they first got together and has stuck with them ever since.
Menacing red lighting enveloped the stage as the rhythmic “Everything We Lost in the Fire” began, with guitarist Steve Schiltz driving the melody. Breaking way to a new birth, the tempo lifted, and brighter lights took over the red. Raw and emotional, “The Chills” had layers of harmonies as everyone screamed the cascading “ohs” in a therapeutic release.
Furstenfeld grabbed his acoustic for the sweet, touching “Home.” Telling a story of his dad taking him to his first shows at old opera venues like State, Furstenfeld said he was inspired by those bands he saw in the 90s. “All these bands used to do this thing with their sad songs. I’m like, I want to be that sad.” The violin finger-picking and skittering drum roll set that set the sad tone for “All That We Are,” one of his favorites and a beautiful love letter to accepting life as it is.
“Is this depression, nostalgia, or what?” Furstenfeld called out during their breakthrough single “Hate Me.” Twenty years later, the song still has such resonant, hard-hitting staying power that shakes you to your core. Clearly a lasting fan favorite, the energy in the room was palpable.
Lifting the mood to a lighter note, “Oh My My” started the poppier portion of the set, encouraging everyone to dance and bop, while “Moving On (So Long)” continued the notion that “Life is really very simple.”
Newest single, “Hot Stuff,” brought the dark and synthy sexiness to the rock show, with Furstenfeld strutting around the stage. The “untz untz” was kept up for the danceable “Down Here Waiting.”
Keeping the 80s sound with the electronics, “Debris” brought out a Peter Gabriel-tinged slow jam that erupted into a harmonic blaze of sound and light as the band walked offstage, leaving Delahoussaye to conduct an insane violin solo.
Stepping out alone for the encore, Furstenfeld started with a sweet story about his father being their manager in the early years and how his parents were always so proud. If your heart was touched at this point, wait. The story turns to his parents’ meeting, him and his brother growing up, and his father’s death, with the whole family by his side. By the time his mother never loved another, half the room was tearing up, and by the time the first whispered verses of “1222 Bay Oak Street” began, it was an emotional landslide. Whether you went in prepared or not, there was no chance of a dry eye, and that speaks volumes about the power music and story have over people.
With a more inspirational message, “Fear” cried out, full of emotion and bombastic drums. Not wanting to leave everyone despondent, the well-wishing “I Hope You’re Happy” rounded out the night, leaving everyone feeling good.
The entire production was the whole package, from the lighting that matched the emotions of the songs to the mix. It’s hard to summarize in words the experience and range of emotions a Blue October show is. If you have not seen them in the three decades they’ve been a band, you should try to catch them the next time they come around.
Notable Opener: Welsh four-piece James and The Cold Gun successfully achieved their “one job, and one job only, to get [us] ready for our friends Blue October.” With a heavier alt-rock sound, they bounced around the stage to hooky riffs and prominent basslines. Songs like “Twist the Knife” and “Meet My Maker” brought the jam, as the latter got the seated crowd to stand and shine their phone lights. “Guessing Games” and “Chewing Glass” capped their set and left a good note ringing in the crowd’s ears. From playing for 15 people in Wales to opening a theatre tour in the US, they show promise of hopping on more big-name opener slots.
Featured image courtesy of Rainmaker Entertainment Group
