REVIEW: Chevelle, Asking Alexandria, Dead Poet Society at The Rooftop at Pier 17 | 08.26.2025

Illinois hard rock juggernauts Chevelle rolled into Pier 17 earlier this week, turning the Manhattan skyline into the backdrop for a night of heavy riffs and raw energy. The stop was part of their massive 38-date summer run in support of their brand-new tenth studio album, Bright as Blasphemy, and the band came ready to put the new tracks to the test alongside the fan favorites that built their legacy. Chevelle are joined on the tour by rock veterans Asking Alexandria and alt-rock outfit Dead Poet Society, rounding out a bill that spans multiple corners of the hard rock genre.

The weather couldn’t have been more perfect for an outdoor summer show. It was sunny, but not hot. The sunlight was bright, but not blasting. It was soft, even. Dead Poet Society would be on at 6:30 and sunset would be at 7:37– I’d be able to make it least through part of Asking Alexandria’s set with daylight on my side. I was feeling good. I also watched a fan recording of the start of Chevelle’s set on YouTube to get a view of the lighting production, and it looked like I’d have some clean light to work with during their set. All good things.

My personal connection to the three bands on the bill are across the spectrum. Chevelle have been in my rotation since 2002, when they dropped their monster album Wonder What’s Next. Asking Alexandria, on the other hand, I hadn’t really listened to until I covered their show at Terminal 5 a couple years back. As for Dead Poet Society, I went in completely blind. No streaming, no reading up on them beforehand — I wanted to experience their live show with zero expectations.

Despite having no expectations, Dead Poet Society managed to exceed them. I genuinely enjoyed their set. They play the kind of songs that make me want to pick up my guitar and jam. 

The band has cracked the code of hard rock – just heavy enough, just poppy enough, just soulful enough to let you lean into your preferred element while growing an appreciation for the others. I was in the mood for heavy, and they delivered plenty of riffs, often when you least expected them. The band keeps you on your toes in the best way, even incorporating slide guitar at one point. Vocalist Jack Underakofler’s range at times evoked The Antlers – less sad, more angry.

“How many of you put ketchup on your eggs, by show of hands?” Underkofler asked, to a crowd that overwhelmingly approved, settling a diner debate the band had been having the night before.

The shoot was a breeze. Lighting wasn’t an issue, though I probably could have used a bit more direct sunlight—usually plentiful this time of day at this venue. Still, I didn’t struggle to get the shots I wanted; the only real challenge was capturing the perfect action shot of bassist Nick Taylor.

I’ve yet to find the ideal way to shoot the stage from afar to fully capture how amazing it looks against the NYC skyline. They had a VIP area with a second-level viewing platform I don’t recall from before, which gave me a slightly higher vantage point. Even so, it might just be one of those “you’ve got to see it to believe it” experiences.

Asking Alexandria took the stage just in time for sunset, their stage lights growing brighter as the sunlight faded. The band moved a mile a minute from the opening notes of “Things Could Be Different” and it wasn’t long before I had to put my camera down, take a breath, and remind myself to slow down.

The range of Asking Alexandria is truly mind-blowing—they’ll follow a bluesy, almost country-style song with a crushing metal anthem. Crowd surfers matched the energy, making their presence known in proportion to the heaviness of each track. Guitarist Paul Bartolome’s screams are absolutely brutal, and “The Final Episode” in particular might have been the heaviest tune of the night.

Once I slowed down, I felt good about the shots I was capturing. Getting clear shots without the vocalist’s hand in front of the mic was tricky. Often I’d wait for the perfect moment, move on, and then the shot I wanted would happen just after I moved. So it goes.

That said, I lucked out when the guitarist positioned himself perfectly in front of the Empire State Building from my vantage point. I grabbed plenty of shots—too many, yet somehow not enough. I do wish I had dialed down my aperture a bit more so the Empire State Building would stand out more, but it’s still recognizable and adds a dramatic touch.

Chevelle opened with “Family System,” mirroring my first introduction to the band back in 2002 when I first slid their CD into my car stereo. Those riffs hit even harder in person. It was surreal — my first time seeing Chevelle, hearing this song, up this close, at a venue like Pier 17. A core memory was created, for sure.

“Could we have asked for a more beautiful night or a more beautiful backdrop?” vocalist Pete Loeffler asked after taking a moment to soak it all in. And what a night it was. Chevelle were on top of their game, mind-blowing from the very start, delivering a setlist that showcased the depth of their discography. The band's new material, which Loeffler introduced as “from my basement to your ears,” fit seamlessly alongside their classics.

Shooting Chevelle’s set was an absolute blast — not just because the band was delivering an amazing set, but because the lighting was exactly what I’d been hoping for. The front lighting on the band was bright and clean, making every detail pop, while the visuals behind them were vibrant and textured, adding real depth to the shots. It was the perfect combo.

I put my camera away toward the end of the set, just in time to take in Chevelle playing their massive single “The Red.” Loeffler began the song solo and subdued, gradually building to an epic crescendo as the drums and bass crashed in for the second chorus. They followed with "Comfortable Liar," another personal favorite of mine, before closing with "I Get It" and “Mars Simula." It was a powerful finish that left the crowd buzzing and capped off an unforgettable evening of music and moments worth capturing.

DEAD POET SOCIETY

ASKING ALEXANDRIA

CHEVELLE