The Pixies’ first-ever Manila show in their four-decade run was nothing short of amazing. Singing hits such as “Where Is My Mind,” “Gouge Away,” “Hey,” “Bone Machine,” and “Here Comes Your Man,” among others, it was a night of celebration for everyone. Outside the venue doors was a giant mural of the event flyer stretched across the wall. As I was about to snap a quick picture, a random Gen X concert-goer asked me to take one for her and her husband — a harmless, funny moment that summed up the kind of crowd gathered that evening. Heading further in, I caught familiar faces from every corner of the local music scene: longtime gig-goers from the hardcore crowd, alt-rock veterans, indie kids, Gen Zs dressed to the nines, all buzzing under the same roof. Some even came with their parents, who turned out to be just as excited — maybe even more. This generational unity in the same room is already a testament to how this band has influenced for 40 years.
Sandwich Sans Rayms
The show kicked off around 7:30 p.m. as alternative rock stalwarts Sandwich opened the night. The surprise twist? Actress and singer Tuesday Vargas filled in on vocals for Raymund Marasigan. The band powered through with a high‑octane set that still felt fresh, thanks to Vargas’ energy on songs like “Two Trick Pony,” “Walang Kadala Dala,” “Kagulo,” and “Sugod.”
Between songs, Vargas then playfully quipped in between. “Ako nga pala si Anne Curtis and this is our first gig!” she says. She later admitted she couldn’t quite believe she was fronting the band and opening for Pixies in one night. Guitarists Diego Castillo and Mong Alcaraz traded frenetic riffs, with Castillo amping things up through wild vocal screeches before choruses hit. Even with their founding vocalist absent, Vargas filled that role with genuine fire and flair despite the last minute changes.
Homecoming Gig
By 8:30 p.m. sharp, the Pixies came on stage, opening with “Cactus” from their debut album Surfer Rosa. The band — Black Francis on vocals, Emma Richardson on bass, David Lovering on drums, and Filipino‑American guitarist Joey Santiago, who donned a barong Tagalog for his first home‑stage moment in the Philippines — brought an atmosphere that was electric from the first few songs. From “Monkey Gone to Heaven” to “Wave of Mutilation,” the live band shook the room as generations bounced together around the venue. There were dads jumping alongside their kids and Gen Z and Gen X fans forming a small slampit; it was chaos in the best way.
Midway through, Francis introduced the band one by one, saving Santiago for last. When his name rang out, the crowd roared as he playfully tapped the guitar’s scales with his cap, creating a hypnotic guitar tone, then toyed with the killswitch and PL cable in rhythm. What transpired during Santiago’s introduction drew even louder cheers.
Watching Pixies live was absolutely surreal: the “quiet‑loud” dynamic hitting harder in person, Francis’ menacing vocal presence, Richardson’s steady groove, Lovering’s tight drumming precision, and Santiago’s distortion‑heavy work bending every alt‑rock rule there is. Highlights like “Gouge Away,” “Debaser,” “Motorway to Roswell,” “Caribou,” and their cover of “In Heaven” from Eraserhead stunned the audience — nobody thought that one would make the Manila set. But they were absolutely cooking.
For the finale, the band closed with three essential songs in the setlist: “Where Is My Mind?,” “Into the White,” and “Bone Machine,” the last one as an encore after a gracious bow. The crowd erupted, chanting “Joey!” until Santiago, visibly overwhelmed, smiled in disbelief. A fitting ending to a long‑awaited homecoming. This was one show I couldn’t miss and one I’ll tell my kids about someday. Pixies made dreams real for one unforgettable night in Manila.
