Emerging from Dublin, SPRINTS have positioned themselves as one of the more intense and uncompromising acts in today’s post-punk revival. While their debut album ‘Letter to Self’ introduced their raw, emotionally charged sound, it's their recent album ‘All That Is Over’ that sharpens that identity further with what seems to be even darker tones.
With a growing reputation for explosive and unfiltered live shows, SPRINTS have been steadily building momentum across Europe, making their first headline concert in Poland (following an earlier festival slot at Inside Seaside Festival in 2024) a highly anticipated moment. While not officially sold out, the VooDoo Club, Warsaw, felt quite packed, with a strong turnout that created an energetic and engaged vibe from early on.
The evening began at 8 PM with a support set from Eli’s Ladder - emo midwest, nu-gaze band from Warsaw. Their performance leaned heavily toward a laid-back, calmer atmosphere rather than confrontation. While musically solid, the set featured limited audience interaction, making it feel somewhat distant compared to what followed.
SPRINTS took the stage just a few minutes after 9 PM and wasted no time cutting through that distance. Packed with intensity, controlled chaos, and charisma, their one-hour, 16-song set translated effortlessly into a club setting.
From the very first notes of ‘Descartes’, the crowd responded with enthusiasm, matching the band’s energy. The material wasn’t focused only on the latest album, though; there was a fairly even representation of both records, with a couple of additions from ‘A Modern Job’ EP like ‘How Does The Story Go?’ and ‘Little Fix’ (their most-streamed song on Spotify), which ended the concert on a very dynamic note. The fans could also hear the band’s interpretation of ‘Deceptacon’ - a song originally recorded in 1999 by an American band called Le Tigre - which was released as a SPRINTS single earlier this year.
At the center of it all was the band’s lead singer and guitarist, Karla Chubb, whose stage presence proved to be one of the strongest elements of the show. Unapologetically confident, she maintained a strong connection with the fans, making the experience feel personal, engaging, and even more intense.
The whole show’s lively aura was driven not only by the band’s performance but also by the crowd’s positive reaction. A mosh pit formed during the set, reflecting the punk energy, and as a standout moment of the show, Chubb went to the back of the room and crowd surfed her way back to the stage, further breaking the barrier between performer and listener.
Visually, the show avoided unnecessary embellishment. The stage remained deliberately minimalistic, with dark, moody lighting - stripping the show down to its essentials, leaving the room for the music and music only.
Overall, the Warsaw show not only marked a successful headlining debut in Poland but also confirmed the band’s growing reputation as a compelling live act - they are bound to make you feel something, even if you’re not familiar with their material.
Paulina Pasturczak
Images: @kurczvkontour
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