Electric Callboy w/Polaris & Scene Queen @ the Paramount Theatre – 4/24/26
Show Review & Photos by Alex Crick

The Paramount Theatre was packed to the rafters for the Seattle stop of German metalcore/electronicore band Electric Callboy‘s Tanzneidtour. The tour, named after their soon-to-be released album, Tanzneid (meaning dance envy in German), brought Seattle fans to a sold-out show, which included a wild mix of people, from little kids with giant ear protection to adults decked out in neon tracksuits. The night felt less like a standard metal show and more like a massive, neon-soaked party.

Scene Queen opened things up with a pretty unique vibe — a three-piece band where the lead singer, Hannah Collins, rocked a shiny pink cowgirl dress while belting out heavy, screamy metal vocals. She was super energetic, thanking the crowd frequently and even jumping into the pit to high-five the front row.

Scene Queen

Then Polaris took over, bringing a more traditional five-piece metal sound to the stage. The set was heavy on tracks from their latest album, Fatalism, opening strong with “Dissipate” and “Inhumane” before diving into fan favorites like “The Remedy” and “Masochist.” It was clear the crowd was already locked in, singing along with every single song and matching the band’s intensity, especially during the high-speed chaos of “Hypermania” and “Nightmare.”

When Electric Callboy hit, the production was next-level. A giant screen behind the drummer displayed videos of massive robots while the band cycled through costume changes, including a giant robot with a boombox during the transition into “Hypa Hypa.” They kicked things off in tracksuits but stripped down to workout gear for “Pump It,” never slowing down for a second.

Some of the highlights were just cool to watch, such as a drum solo where the live drummer played along with a projected four-armed robot drummer; the band donning sequined helmets for “RATATATA” while members of Japanese group Babymetal were projected behind them; an acoustic version of “Fuckboi,” where they actually asked the crowd to put away their phones, making for a rare quiet moment in the chaos. After that, Electric Callboy quickly flipped to “Everytime We Touch,” where everyone had their phone lights on for the acoustic intro, followed by the band slamming back into full electric mode.

By the time the confetti cannons doused everyone during “MC Thunder II,” the place was a madhouse of crowd surfers and circle pits. It’s rare to see a show that’s this theatrical while still being so much fun.

Electric Callboy