Turnstile w/ Slayyyter and Die Spitz at Day on the Hill- Univ. of Kansas, Lawrence KS (2026-10-06)

BIRDS (with Slayyyter)
Real Thing
ENDLESS
I CARE (With video interlude before) >
DULL
DON’T PLAY
I Don’t Wanna Be Blind
Drop
WILD WRLD
LIGHT DESIGN
MYSTERY
SUNSHOWER
Keep It Moving
Canned Heat
SOLE
MAGIC MAN
LOOK OUT FOR ME (With video interlude before)

Encore:
HOLIDAY
BLACKOUT
NEVER ENOUGH (With video interlude and intro before)
T.L.C. (TURNSTILE LOVE CONNECTION) > outro

*PRAYER* (intro song from tape)
DANCE…
OLD FLING$
OLD TECHNOLOGY
CRANK
YES GODDD
CANNIBALISM!
I’M ACTUALLY KINDA FAMOUS
$T. LOSER
brand new chanel$
BEAT UP CHANEL$

DIE SPITZ SETLIST

American Porn
Grip
My Hot Piss
RIDING WITH MY GIRLS
Hair of Dog
Throw Yourself to the Sword
Groping Dogs Gushing Blood

Oct 7 Arsenal BG Ballpark St. Louis, MO
Oct 9 Austin City Limits Music Festival Austin, TX
Oct 11 FORM Festival Mayer, AZ
Oct 14 Ventura County Fairgrounds Ventura, CA
Oct 15 Craig Ranch Regional Park Las Vegas, NV
Oct 18 Observatory Festival Grounds Santa Ana, CA
Oct 24 Washington Monument, Washington DC (free show)
Nov 14-15 Camp Flog Gnaw Carnival Los Angeles, CA
Jun 3-5 Primavera Sound Barcelona, Sant Adrià de Besòs
Jun 4 Rock Im Park Nürnberg, Germany
Jun 5 Rock Am Ring Nürburg, Germany
Jun 10 Eskelunden Aarhus
Jun 24 Tons of Rock Oslo, Norway

It’s real!- Lawrence has a case of TLC!

The occasion was the return of a university tradition, back after a nineteen-year absence as Baltimore band Turnstile headlined a memorable and staggeringly powerful lineup for Day on the Hill, held just outside the far end of Booth Memorial Stadium.

In addition, electro pop singer Slayyyter and Austin TX riot grrrls Die Spitz were also on the bill- all anticipated acts the area had been eagerly waiting to see live and the combination (co-organized by local promoter, Mammoth) resulted in a legendary lineup that will be talked about for years, much like when Pearl Jam headlined the event in 1992.

Some has changed since those early installments- notably a move to the fall instead of early May as a celebration tied to the end of the semester, and the formally free event, now costing nearly $100 for entry.

Those reasons may have held people back from attending, but the show was still crowded (especially up front), run very smoothly, and we hope signals its return as an annual event on campus. Also, $1 from every ticket went to Community LINC, a KC-based organization committed to ending homelessness.

“Anger is a gift” – Speaking of 1992, RATM’s Zack de la Rocha sung that on “Freedom” from their debut album, and a generation (or more) later, the sword has been passed to the Charm City melodic hardcore band that formed back in 2010 but is only now seeming to explode onto a more mainstream scene.

The band’s latest full-length, 2025’s Never Enough was big enough to inspire a related remix project, Never Enough: Versions featuring artists like Hayley Williams and Elton John taking on their songs. The band would also go on to make Grammy history this year as the first group nominated across three genres in a single year, winning Best Rock Album and Best Metal Performance for “BIRDS.”

Live, the band is a celebratory powder keg of chaos, connection, and communal energy (much like RATM) blending modern hardcore, punk, infectious grooves, and pop-leaning melodies. Riffs come sharp and jagged from the guitars of Pat McCrory and Meg Mills, drumbeats echo and linger from Daniel Fang (who looks half his age, even shirtless) and bassist “Freaky” Franz Lyons hopped about and pointed at the most crazy in the crowd, all without missing a note.

Frontman Brendan Yates comes across and friendly and focused, but intense, and he directed the crowd like a conductor, inciting the pit and encouraging everyone else to jump and chant along and obliges to do so himself, as if he were a part of the crowd itself.

Huge respect for the band’s video crew and their lightweight mobile 30 frames-per-second HD cameras that projected the mayhem on the huge screen behind the band as the music raged.

One cameraman was all over the stage, showing angles of members we never would have otherwise seen, and the other bravely embedding in the pit, swirling and moshing with the fans, giving everyone else an immersive virtual view of being in the immediate thick of things.

All the aggression was mixed with a true sense of joy, encouraging to help anyone up in the pit and a general feeling that everyone was in the same place for the same reason – to exhale and let it all out, and to enjoy the music in the moment.

Following a Charlie Parker jazz intro (a grateful nod to local history), the band came out in overdrive, starting with their Grammy-winning, “BIRDS”, complete with a Slayyyter appearance (who does a version of the song herself) making the audience go completely bananas, and that was just the first number.

The set would flow like a film come to life (in fact, a visual album was released with the new record’s release), complete with a few short video clip transitions- some with fans (including some locals) explaining what they loved about the band, and one featuring Yates’ father, addressing the much younger crowd to enjoy the night and have fun.

The main set would end with the new album’s longest track, the seven-minute atmospheric “Look Out for Me” but clearly meant it was not the end, as the band soon returned to the stage for a four-song encore, beginning with a pair from 2021, “Holiday” and “Blackout” (is it coincidence that Scorpions have songs with those names?).

The title track of the new album built its momentum to have people go ballistic with motion, only to mellow back down, but with enough energy left to rebound back for one last punk punch on “T.L.C. (TURNSTILE LOVE CONNECTION)”. The resulting reaction proved beyond a doubt, that Lawrence has a love connection with the band that will extend well past this concert and showed why Turnstile is a ‘must see’ live.​​

If a poll could have been taken as to which act was most anticipated, just by looking at the t-shirts and crowd’s clothing, electro hyperpop singer-songwriter Slayyyter (aka Catherine Grace Garner) might have taken the crown.

Worst Girl in America is the newest full-length and a breakout, released back in late March, as well as its companion piece, Worst Man in America, described as a ‘brother’ album, due out December 4 which is said to be the inverse POV of themes and elements of the previous record.

Live, Slayyyter entrances with hair flowing in a romance novel-like form from the stage, the music relentless in hardly giving one a moment to catch your breath, and a surprisingly wide vocal range that reached high, long, and never wavered, despite rarely standing still; instead, moving from side to side and collapsing to the floor at center stage.

We did get a live taste of the upcoming record, including lead-up single, “brand new chanel$” played back-to-back with previous album’s “BEAT UP CHANEL$” which would end the set with a party atmosphere and further showed the contrast between the tracks on her third and fourth full-lengths.​

While still daylight out, the evening got underway with Austin, TX four-piece Die Spitz in support of their acclaimed debut album Something to Consume, out now on (Jack White’s) Third Man Records and its most recent single, “American Porn” which they began their raucous set with.

The band is Ava Schrobilgen, Chloe De St. Aubin, Eleanor Livingston, and Kate Halter and when bassist Halter took to the stage walking on her hands, you could tell it was going to be a good night.

The pit got started right away with the opening song, described as angry and against objectification and over-sexualization. The band mostly got to business, playing those churning energetic songs that kept the pit moving, while swapping instruments depending on the song, building on their wall of sound.

Guitarist Livingston did jump down front to peer at the circulating vortex of bodies while she played, with band and the audience feeding off each other’s synchronized created energy.​

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