Forty Feet Tall Closes Out Winter Tour At Kilby Court Alongside Local Punk Favorites 

On a cold Salt Lake City night, Kilby Court pulsed with the raw energy of live punk music as Forty Feet Tall tore through one of the final stops of their winter tour. The Portland-based band brought along two local favorites—Mopsy and Sleep Cult—rounding out a lineup with everything a great punk show needs: relentless energy, passionate performances and an audience hungry for chaos. 

Act 1: Mopsy

Mopsy, composed of Capp City (vocals and guitar), George Christensen (guitar), Conner Murray (bass) and George Levitre (drums), opened the night with their signature high-intensity performance, instantly igniting the crowd. There’s something captivating about Capp’s stage presence—the kind that demands attention from the moment he steps in front of the mic. Mopsy’s energy is raw, urgent and unpredictable, making it impossible to look away. The crowd fed off it, with everybody moving in chaotic harmony. It was fitting to see Mopsy back at Kilby, the same place I first saw them play, only now surrounded by their own stickers plastered across the venue’s walls like battle scars from past performances.

They closed with “Making Out at Butt Rock”—a move that never fails to end things on a high note. As soon as Capp launched into the lines “You got me barking like a dog / You got me meowing like a cat,” the audience did exactly what you’d expect: barked and meowed back in full force. It was both hilarious and deeply telling of Salt Lake’s punk scene—passionate, weird and unafraid to fully embrace the moment. 

Act 2: Sleep Cult

Next up was Sleep Cult (Issac McCune on guitar and backup vocals, Jerik VanPatten on drums and guitar, Dominic Taylor on bass and Bryson Milchalek on guitar and lead vocals), a band that embodies everything punk rock should be—unapologetic, gritty and loud. Milchalek’s voice was striking, carrying a rawness that set them apart from other bands in the scene. Their performance was electric, keeping the momentum high and priming the audience for the final act of the night.

They then introduced their final song, “For You,” and before the first note even hit, I heard someone in the crowd exclaim, “Yes! This is my favorite song!” At that moment, I knew it was going to be something special—and it didn’t disappoint. Unlike the rest of their set, “For You” took on a slower, more melancholic tone, yet somehow, the energy in the room remained just as electric. The song’s raw emotion was undeniable, especially as the vocalist delivered the haunting line “Just take my hand / don’t let me go.” It was a powerful, unexpected closer that left a lasting impression. This was my first time seeing Sleep Cult live, but it definitely won’t be my last.

Headliner: Forty Feet Tall 

Then came Forty Feet Tall, consisting of Jack Sehres (guitar and synth), Brett Marquette (bass and backup vocals), Cole Gann (lead vocals and guitar) and Ian Kelly (drums). The post-punk band took the stage with a serious, almost detached energy as they set up their gear. But the moment they launched into their set, everything shifted. The frontman’s presence was magnetic—intense, unpredictable and effortlessly commanding. His ability to connect with the crowd was undeniable, drawing everyone in with a performance that felt precise and chaotic in the best way possible.

Their chemistry was on full display, each member feeding off the other’s energy with an almost instinctual synchrony. The guitars weaved effortlessly between tight, punchy riffs and loose, frenzied strumming, while the bassline held everything together like the spine of a living, breathing organism. This was the first time I truly paid attention to bass in concert and realized just how much of an effect it had on the music. The lines were addicting—thick, pulsing and almost hypnotic, giving each song a depth that I hadn’t fully appreciated before. The drummer, in particular, was relentless—pounding out rhythms that didn’t just keep time but propelled the entire set forward with an infectious urgency.

The lead guitarist was completely lost in the music in the best way possible. His energy was undeniable—raising his guitar mid-strum, contorting his face into wild, almost theatrical expressions as he ripped through each riff. 

They listed Parquet Courts as one of their biggest musical inspirations, and it showed. The sharp, angular guitar work and spoken-shouted vocals carried that same art-punk edge, but Forty Feet Tall brought something even more unfiltered to the table. I might go out on a limb here and say that they’re Parquet Courts—but better.

The Essence Of Kilby Court

Kilby Court proved, once again, why it’s the ideal setting for shows like this. The small, garage-like venue creates a rare kind of intimacy between artists and audiences, making a mid-sized crowd feel like a packed house. Anyone who’s been to Kilby knows that it’s special. 

Mopsy, Sleep Cult and Forty Feet Tall each brought something unique to the stage, creating a lineup that felt cohesive yet dynamic. For anyone looking to experience the heart of Salt Lake City’s punk scene, this was the place to be.