model/actriz inhabit a strange and niche corner of music. Fusing noise rock and industrial elements with lyrics exploring themes of queerness and sexuality, theirs is an identity so strong it’s hard to forget. They effortlessly stand out. Formed in Boston, Massachusetts, the four-piece is comprised of Cole Haden (vocals), Jack Wetmore (guitar), Aaron Shapiro (bass) and Ruben Radlauer (drums). After releasing their debut album 'Dogsbody' in 2021, which received an 8.2 rating from Pitchfork, then 'Pirouette’ earlier this year also to high praise, the group has been consistently creating high-calibre intense yet sensitive music, with Haden's signature croaky drawl exploring the journeys he's faced as "a gay person working in a genre that's not very outwardly gay".
I was so excited to see them again, and my enthusiasm was clearly echoed by those around me as we piled into Band on the Wall on a cold mid-November Saturday night.
While we waited, support was provided by Mun Sing, an experimental electronic artist from Bristol, who was a chaotic delight, roving around the space with a bright blue painted face to a cacophony of varying beats. Deliberately off-the-wall and unafraid to show it, he almost seemed to be having a mental breakdown of sorts, going from running around the space one second to jumping maniacally up and down the next. It was a trip, and I loved every second.
Then came model/actriz. Beginning immediately with 'Vespers', the first song from their latest album, the group’s ferocious energy set the tone for the rest of the evening. If there's one thing that model/actriz bring in droves, its theatrics. Haden is the ultimate showman, sultry and fabulous, implementing multiple costume changes as well as flinging himself into the crowd and slithering around. He commands the stage and doesn't hide, loving it. It could, perhaps, run the risk of becoming a one-man show; the other band members aren't nearly having as much time in the spotlight. But perhaps that's what works for them. Wetmore, Shapiro and Radlauer take us through shredding riffs and complex drum beats with an air of casual nonchalance - it all just seems impossibly easy.
The rapid pace slowed down significantly for the tender 'Acid Rain', which saw Haden donned in a large ruffled collar. Haden's ability to swing from intensity to slow, gentle crooning is impressive; like his costume changes, he seems to switch in a matter of seconds, bringing a truly multi-faceted performance and a varied exploration of themes in his lyrics: "/ sing in part because you often / Told me that you liked to listen." The crowd was clearly transfixed, with many of Haden’s lyrics being sung right back at him, and after every song was an enormous cheer - model/actriz are obviously very much loved by the Manchester crowd.
Later, the tempo switched again, and the heavy-hitting single 'Diva' saw the crowd turn feral, with the iconic line "I'm such a fucking biiiiiiiiiiiiitch" seemingly screamed by every person in the room. The highlight for me was the final act, which saw some of the band’s most-loved tracks delivered in a blistering medley - the pit was leaping for 'Crossing Guard', which blended immediately into 'Slate’, with the show ending on the heavy techno-rock elements from the band's debut album. The final song was ‘Amaranth', which saw the room explode for one final hurrah, and then the spectacle was over.
As we left, a bit bruised but delighted, I think a fellow concert-goer put it best: "It's gay metal and they're really out for blood," - that's what makes them so powerful. The combination of the intense musical elements, combined with Haden's deeply poetic lyrics and raw energy, sheds an alternative light on the queer experience - one of commandeering, of unashamedly being "such a fucking bitch”. model/actriz are truly unique, and brings one of the best live performances I’ve seen.
Megan FitzGerald
Images: @gabbo_film
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