By Katie Surkin
Turnstile has been all the talk in the alternative scene lately. From Charli XCX declaring the summer of 2025 “Turnstile Summer,” to Tiny Desk stage dives, to Taco Bell ads, to attempted homicide against your ex-bandmate’s father (looking at you, Brady Ebert…), it seems that everywhere you turn, Turnstile is there. But how did Turnstile go from DIY teenagers in their local Maryland scene to world-touring, Grammy-winning punk legends?
Hailing from Baltimore, Turnstile has redefined modern hardcore, blending punk intensity with groove-driven riffs, psychedelia influences, and an open-minded approach to sound. Soul, rap, rock, psychedelia and R&B are all present under the band’s vast umbrella of musical exploration, with their most recent album, NEVER ENOUGH, only expanding it. Their identity is too unique for them to sound like anyone else.
Turnstile first made waves with their 2011 and 2013 EPs Pressure to Succeed and Step 2 Rhythm, which introduced their groove-heavy, high-energy take on hardcore. In 2015, they dropped their explosive 2015 debut album Nonstop Feeling, which blended hardcore intensity with melodic elements of funk, alt-rock, and even hip-hop-inspired rhythms. Their 2018 sophomore album Time & Space, produced by Will Yip, pushed them further into the spotlight with a polished yet relentless sound, earning them a reputation as one of the most forward-thinking bands in hardcore. Then came GLOW ON in 2021, a genre-defying album that saw them fully embrace melody, atmospheric textures, and anthemic songwriting. Through it all, Turnstile has remained unpredictable, innovative, and unapologetically themselves. Every new record expands and breaks the rules of what hardcore can be. And now (or rather, a year and two months ago), Turnstile has changed the game once again with their newest album, NEVER ENOUGH, released on June 6, 2025.
Over the years, Turnstile has faced a lot of shit for the way they bend hardcore, with some saying they’re not hardcore at all anymore, just washed up POP-punk. But to bend the rules of hardcore, you need a deep understanding of the genre, and Turnstile is the real deal. For Turnstile, hardcore’s true essence comes from positivity and honesty, as opposed to the traditional aggro-male image often associated with the genre. They believe that authenticity is key, and strive to create a community with and among their fans. They don’t just write hardcore music— they live it every single day. To call them anything but hardcore is like saying the sky is anything but blue.
A quote from Jon Caramanica, who reviewed Turnstile’s Time & Space back in 2018, has stuck with me when evaluating this album.
“Few genres wrestle with the idea of purity the way hardcore does…In a realm where trying new things has roughly equated to trampling on history, there has been an increasing tolerance of innovation, especially from bands that are experts at the foundation.”
If Caramanica had been able to listen to NEVER ENOUGH in 2018, he would have realized that Time & Space was just the beginning of Turnstile’s radical change. Though I agree with the sentiment, I do not believe there is an increasing tolerance of innovation in the hardcore community, and the release of NEVER ENOUGH just proves that. There will always be a grown man there to talk down on the youth in the scene, “changing the genre too much” —but isn’t unequivocal self-expression the whole ethos of hardcore? GET A LIFE, GROWN MAN!
The night the album came out, my world was changed…well, not right away. I only listened to two songs, “NEVER ENOUGH” and “SEEIN’ STARS,” before firmly deciding that the Turnstile I knew and loved was gone, promptly refusing to listen to the rest of the project (maybe I was part of the problem). I soon realized that was a rookie mistake, because two weeks later I decided to listen to “SOLE,” and finally started to understand this new release. Then in September, their new Tiny Desk sealed the deal for me, and I felt my obsession come right back.
One day prior to the release of NEVER ENOUGH, Turnstile dropped an accompanying visual album, with the hopes that listeners would experience their new music for the first time in this format. Though I did not have that experience (sue me), I did watch the film eventually— but I viewed it on my phone through a sketchy Google Drive link, which was certainly not their intention. Their film was meant to be experienced on the big screen with quality speakers, immersing you in the atmospheric worlds they’ve created to interconnect each song. Influenced by films like Blue Velvet and Kurosawa’s Dreams, the visuals are fluid and almost hypnotic. The band has shifted away from rigid punk structures toward something more expansive and melodic, without losing their raw intensity. As an album, NEVER ENOUGH leans into shimmering production, layered instrumentation, and moments of unexpected calm that make its heavier sections hit even harder. The film ties everything together into one cohesive artistic vision, and pushes the boundaries of hardcore into a new, more cinematic territory.
Shockingly, Pitchfork’s review of this album offered me one potent insight:
“‘Never enough’ isn’t a mantra for self-abasement or a premeditated retort to critics; it’s permission to be imperfect while growing. LP4 was never going to be what everyone else wanted it to be. For Turnstile, that couldn’t be more of a relief.”
While the thought that everything they do is “never enough” may have rang true throughout their past albums, Turnstile is coming to terms with it. Their experimentation in the genre is bound to bring naysayers, but they will not let purists define what kind of music they can or can’t make. In that way, “Never Enough” isn’t just a title or a snarky comment to their haters. It’s an acceptance and peace with themselves, especially Yates. Turnstile’s popularity has skyrocketed in the past year, which they couldn’t have predicted before writing this song; however, the lyrics “it’s never enough love” ring even truer in that light.
But, just because I respect NEVER ENOUGH for what it stands for, doesn’t mean I don’t have my critiques. Initially, I joked that I was only going to Turnstile’s September 19, 2025 show in Philadelphia to see Mannequin Pussy, and that my partner was only going for Turnstile (a little friendly boys v. girls rivalry). Don’t get me wrong, I love Turnstile, but if I was going to fight for my life in the pit, I did not want to see Blood Orange-inspired slop. With tickets dropping before the actual album, I had a knot in my stomach, imagining that the new album was going to be like the New Heart Designs RSD EP release (and the “SEEIN’ STARS” single did nothing to alleviate these concerns). I was still excited to hear the new album live, but what can I say, the girls yearn for Step 2 Rhythm (call me a hypocrite, I don’t care!). Nevertheless, I went into the show with an open mind and an open heart.
After circling the parking lot of the Mann and missing the entirety of Jane Remover and Speed, a nice worker took pity on us and directed us into the VIP lot—score! We got there just in time for Mannequin Pussy, situated a solid ten rows back from barricade (not so bad for a lawn!). Their set breathed life back into the masses, who had been waiting for hours in 80 degree heat. Plus, it was Missy’s (lead vocals) birthday! They put on an incredible show, as always, and seeing them on a massive stage filled me with so much pride. They are one of the most politically charged bands in the scene right now, which really set the tone for the entire show. Before Turnstile’s set started, my friends and I were taking bets on what song they would open with. My guess was “HOLIDAY.” My partner, with an abundance of hope, guessed “LIGHT DESIGN.” Everyone else guessed random songs off of GLOW ON. No one guessed “NEVER ENOUGH,” the song named after the album they were touring for—we were not really thinking.
I do not like “NEVER ENOUGH.” For carrying the titular weight of the album, it’s relatively disappointing (musically). Even more disappointing as a concert-opening song, and I was not feeling super energized yet. Turnstile rectified this immediately with “TURNSTILE LOVE CONNECTION (T.L.C.),” which I was not expecting to hear second. However, looking back at it, this start to the setlist was very intentional. One of Yates’s lyrics from “T.L.C.” that always sticks with me is, “I want to thank you for letting me be myself.” This was a particularly symbolic start to the night, especially at a time where, even though their popularity was skyrocketing, they still were getting discounted from their genre. It’s a thank you directly to the crowd, for coming out and sticking with them, even when they get too “experimental” for some people. So, “NEVER ENOUGH” acknowledged his own insecurity, and marked the start of his path to self-acceptance despite anxiety and doubt. Then, “T.L.C.,” a thank you to the audience, for giving him the platform to be himself and to grow, even if it means making “imperfect” music. Whether or not I like that specific song, it set the perfect tone for a concert whose whole ethos is being unapologetically yourself; and that was evident by what I was about to witness.
As soon as the opening riff of “T.L.C.” started, three separate push pits broke out in front of me. Behind me was a wall of middle-aged men with beers, whose moshing days were clearly over. And there we were, serving as the barrier between nonchalant Gen X and overeager Millennials/Gen Z throwing punches. It would have been poetic if I was not worrying about getting kicked in the face by a man with a beanie and a mustache.
The next several songs, though I thoroughly enjoyed them, were either blurred together or not necessarily pertinent to this review. For a show that set the tone of growing and accepting change, they certainly played a lot of old songs— but hey, I’m not complaining, and neither was anyone else. Deep cuts “Drop” and “Fazed Out” lifted the energy to unmatched levels. Everyone in the crowd was dancing, even those nonchalant Gen X freaks who thought they were cooler than me (they didn’t say that, but I could tell). Then, just when I thought it couldn’t get any better, they played half of Step 2 Rhythm in succession (“7,” “Keep It Moving,” and “Pushing Me Away”).
After a brief vibe-interruption from GLOW ON’s “FLY AGAIN,” we reached my favorite song off of NEVER ENOUGH, “SOLE.” In my opinion, “SOLE” is one of the most unique songs on the tracklist. It still has the typical synth, phaser, and reverb effects that are borderline overused throughout the album, but is done a bit more tastefully. The song builds up into a captivating breakbeat, reminiscent of their earlier releases, before breaking out into a classic GLOW ON riff. The drums are relentless, hyping the crowd to mosh, sweat, and shout every word right back at them. The middle half of the song slows and gives the synth a deserved spotlight, building the tension and energy before the finale. Though I love Yates’s vocals, I have a soft spot for any song that gives their atmospheric instrumentals a chance to do the talking. The ending is addicting, and circles back to the same melody as the introduction but with more power, before abruptly dropping off and leaving you craving more.
“SEEIN’ STARS” was next. I was almost going to tap out here. I was fighting to catch a breath, genuinely seein’ stars, and contemplating if the risk of losing my—now sweat-soaked—vintage Minor Threat shirt outweighed my overwhelming need to take it off. While debating my next move and teetering on the brink of consciousness, a purple haze filled the lawn and the electronic intro to “HOLIDAY” began to play. I had to lock in; I would never forgive myself if I had missed this song.
Finally, the crowd fell still. Turnstile ended their set with one of the most emotional moments I’ve experienced at a concert. The chorus of their final song “LOOK OUT FOR ME” builds up with pounding drums, power-cord heavy guitar riffs, and vocals reminiscent of those on “Time & Space,” before coming to a sharp halt. Listeners are met with calm synth while Yates’s melodic vocals echo across the lawn. The band left the stage after this, and as the song played out for its final 3 minutes of IDM, rave-inspired synth, the camera panned to all of the different faces of the show. First to the audience, highlighting passionate fans, posters, and small children who promptly flipped off the camera. Their parents taught them well. But the part that broke me is when they started panning to the staff—not the tour manager or the tech crew, but the staff of the Mann Center. The bartenders, the cleanup staff, the merch attendants: the people that truly allowed us to be there, and who so often go unnoticed.
The words of Maestro Harrell broke the trance of instrumentals:
“You gon’ look out for me? You promise? You got my back, huh?”
Here, the thumping, bass-drum-esque synth loop gets added to the mix, and everyone starts to truly dance—not show-off moshing and shoving, just grooving and connecting with the people around them. The camera panned across the entire crowd. This song and the crowd’s energy was like a breath of fresh air from the past hour of heavy riffs, intense breakdowns, and a restless crowd. It felt like no coincidence that the wind was starting to pick up too. But of course, no show is complete without an encore.
Usually by the encore, I feel like shows are dragging. I’m hot, sweaty, and ready to pass out on the car ride home. But on this night, I was hot, sweaty, and nowhere near ready to say goodnight. That break was exactly what I needed to lose myself during their final three songs—“BLACKOUT,” “MYSTERY,” and “BIRDS.” Evidently, I lost myself too much, because I have no memory of these three songs besides what I captured on a shaky iPhone video (which gathered a whopping 174 likes on TikTok).
Overall, it was actually one of the tamest Turnstile shows I’ve seen, including when I saw them play in the sand in 2023 (which you think would limit two step-ability, but evidently not). Some people would have been disappointed with this show, but those people would probably disagree with everything else I wrote too. The (actual) most disappointing part of the night: even though “STEP WITH THE ONES WHO STICK AROUND” sprawled across the backs of several shirts highlighted on the big screen, the band never actually played “Step to Rhythm.” I made sure everyone knew of my disdain for this fact on the way out of the venue. Despite this, it was definitely the show of the year for me. Philadelphia always brings the best crowds, and you could tell even the band felt the unmatched energy and community. If you get the chance to see Turnstile live, you better go—it might be the coolest night of your life. Just make sure you keep a close eye on your phone….
