The atmosphere ran electric from the moment Sophie Hunter took the stage as the opening act at Terminal West for Sleigh Bells and their “Bunky Becky Birthday Tour.” A newcomer to the touring scene, this marked her very first live tour, yet she commanded the room with a ferocity that belied her inexperience. Clad in a punk-inspired wardrobe that included a halter top, black knee-high boots, fishnet stockings, and a skirt, Sophie immediately set the tone with her girl-boss persona. Her style was a striking juxtaposition of edgy rebellion and feminine power, as though each outfit choice was a statement in itself — an ode to a fearless, unapologetic woman in control. There was no doubt that Sophie Hunter had the room’s undivided attention from the get-go, and she demanded it with each fierce step and beat of her performance.
Sophie’s music was an eclectic mix of pop-rap, with rapid-fire bars that hit hard and fast, weaving complex lyricism with a beat-heavy, electrifying sound. Her delivery was immaculate, and it was clear she had honed her craft with precision. The songs, propelled by thumping bass lines and catchy hooks, presented an infectious energy that immediately won over the audience. She oozed confidence, and her command of the stage was undeniable, carrying with it a raw intensity that left a lasting impact. One of the highlights of her set was the track “Cunt,” which required fan participation to fully resonate. The crowd was encouraged to scream the word in unison, a bold, liberating act that emphasized the empowerment of Hunter’s message. The presence of Alexis Krauss, who stood offstage cheering her on, only further cemented Hunter’s place in the larger rock scene. She was, without a doubt, an artist who demanded —and deserved— attention, and her set served as a perfect prelude to what was to come.
As the crowd settled into anticipation, Sleigh Bells took the stage to a roar of applause. With the pair of Alexis Krauss and Derek Miller leading the charge, the dynamic duo erupted into their performance with a ferocity that immediately elevated the energy in the room. Alexis Krauss, dressed in a colorful, eye-catching outfit designed specifically to celebrate PRIDE Month, instantly drew the crowd’s focus. Her outfit was a burst of vibrant hues, symbolic of inclusivity and joy, and she wore it like a statement in and of itself. Meanwhile, Derek Miller — whose guitar, an orange-and-blue tiger-striped Jackson, was as aggressive as his playing style — was the perfect contrast. Together, they formed a combination that was an absolute force, feeding off each other’s energy and propelling the entire set into high gear. The entire venue buzzed with anticipation, and it became clear that this would be a performance that was equal parts an experience and a celebration.
The set was an unrelenting 70 minutes of pure, untamed power. From the first note, Sleigh Bells delivered a musical assault that was as thrilling as it was exhausting. Alexis Krauss was a spectacle of energy, constantly in motion, her body a blur of jumps and twirls as she tore through the crowd with unmatched enthusiasm. There was a rawness to her performance, as though each jump and every leap into the audience was an extension of the song’s power, an embodiment of the music itself. It was almost as if she was running an obstacle course, moving with a kind of energy that could only be fueled by the sheer force of her vocals and the crowd’s excitement. The crowd, for its part, matched her every move, feeding off the raw power and emotion that came with each song. Alexis’ tattooed arms, inked in intricate designs that swirled and coiled around her limbs, only further enhanced the intensity of her performance. Add to that the chrome-plated microphone she wielded like a weapon, and it was clear that every move she made was part of a larger, carefully crafted performance.
Derek Miller, ever the master of his craft, was the rock-solid foundation upon which the explosive performance was built. His guitar riffs were sharp and dynamic, cutting through the air with precision, each note a testament to his expertise. The tiger-striped Jackson was more than just an instrument; it was an extension of his persona, aggressive and unapologetic. His stage presence complemented Alexis’ wild energy, grounding the performance with a cool, calculated intensity. There was a level of professionalism in his playing that spoke to years of experience, but it was never devoid of passion. Throughout the set, Derek maintained a near-constant state of motion, his guitar slung low as he worked through intricate solos and explosive chord progressions that set the foundation for Alexis’s soaring vocals.
The duo took a moment during the set to acknowledge the long road that had brought them back to Atlanta. With a warm sincerity, they apologized to the crowd for the prior setbacks and cancellations that had delayed their return. The crowd, clearly appreciative, showered them with applause, and the bond between artist and audience was palpable. It was a reminder that despite the power and adrenaline of their performance, Sleigh Bells was a band that still deeply valued their connection with fans. Their set was a celebration not only of their music but of their fans’ loyalty and resilience, a reflection of the journey that had brought them together.
The setlist was a thrilling ride through some of their most iconic tracks, including “Comeback Kid,” “A/B Machines,” and the thrilling finale of “Crown on the Ground,” which served as the perfect conclusion to an exhilarating evening. Each song was performed with an energy that bordered on catharsis, the crowd roaring in approval as Alexis and Derek pushed themselves to the limit. When the final notes of “Crown on the Ground” rang out, there was a sense of fulfillment, as though everyone in the room had just experienced something unforgettable. It was a masterclass in energy, showmanship, and sheer sonic intensity, and by the end, the entire venue was buzzing with the aftermath of an unforgettable show.
LoudSound Magazine 
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