Gogol Bordello – First Avenue – MInneapolis MN – February 25th 2026

Minneapolis based indie-rocker Boris and The Joy (Boris Pelekeh) began the night with an energetic and love filled set of funk, groove and punchy, hook-driven songs, where he frequently referred to the crowd as his new friends in Minneapolis, and spoke of solidarity, community and support in between songs. Backed by Gogol Bordello drummer Corey Kingston, his sound mixed a classic rock attitude with modern indie edge, as he slid comfortably between melodic singalong moments and fuzzed-out riffs and at times distortion.  His intensity amped up the start of the night, running across the stage with boundless energy and excitement, and declaring to the cheering Minneapolis crowd that “ love is the greatest resistance!”

Puzzled Panther followed up on that energy with a stage full of musicians and a party-like joyful energy. There was a raw, slightly off-kilter edge to their sound that kept things unpredictable and exciting, and full of funky dance vibes and great beats.  They are a quirky and fun band with great musical talent, lead by Victoria Espinoza and Kay Bon Tempo and joined by Eugene Hutz on guitar and keys (Gogol Bordello),  and Brian Chase (Yeah Yeah Yeahs) on drums, the musicality was off the charts with added violin on certain songs. Their final burst of feedback and a last, driving chorus that had the front rows bouncing,left the room louder, looser and fully wound up for the storm still to come.

And then Gogol Bordello took the stage to the screams of the packed Mainroom. Fronted by the wild-eyed and endlessly charismatic Eugene Hütz, they blends punk rock urgency with Eastern European folk, Romani rhythms, accordion, violin and a rhythm section that is just explosive. The room instantly felt like an Eastern European family party, this music and dancing and an all over atmosphere of fun and celebration, complete with dancing accordion and violin playing. The crowd reflected that energy, jumping up and down, and with crowd, surfers pouring through the room toward the stage.  Between the passionate accordion-driven melodies that feel both celebratory and defiant and Hütz’s chaotic presence, pacing the stage and whipping the crowd into a frenzy with shouted refrains, half-spoken poetry and bursts of manic dancing, it felt less like watching musicians perform and more like being invited into a roving, borderless street party that just happens to be plugged into amplifiers, and that energy just climbed through the night like a party that never wanted to end.  When it did, the crowd was left with an energy of joy and celebration that was chaotic, beautiful, and memorable.