Photo by Ryan Cagle
Synthwave and pop fanatics, this one’s for you! On September 16th, synthwave powerhouseThe Midnight made their return to San Antonio, bringing their Time Machines tour to the Aztec Theatre, alongside sensational pop singer-songwriter Bonnie McKee. The crowd was loud and moving from start to finish, enjoying sax solos by touring saxophonist Justin Klunk, heartfelt singalongs, and an incredible feature by Bonnie on the songs “Jason” and "Runaways”
The Midnight embraces the concept of “mono no aware," a traditional Japanese term describing the gentle, bittersweet feeling of life's fleeting beauty. I first discovered the band in2019 through an Australian Twitch streamer who regularly played their music during his Twitch streams. When the COVID pandemic began and time seemed to lose all meaning, I spent countless nights listening to their songs in my room or while driving through the empty streets of my city. Since then, their music has carried me through late-night drives home from work, family trips to the beach, countless wonderful memories, and some of the hardest moments of my life. Their nostalgic sound is inseparable from my memories, so I had to be there when The Midnight returned to San Antonio.
Kicking off the night was acclaimed singer-songwriter Bonnie McKee. McKee is known for co-writing some of Katy Perry’s biggest hits, including “California Girls,” “Teenage Dream,” “Last Friday Night,” and “Roar,” and her resume doesn’t stop there! She has also worked with Taio Cruz on “Dynamite,” Britney Spears’ “Hold It Against Me,” and Kesha’s “C’Mon,” making her the creative force behind some of pop music’s most iconic songs
McKee delivered a set filled with catchy, unapologetically pop anthems, including “Easy,” the infectious “Sleepwalker,” and “Jenny Has A Boyfriend.” Framed by a retrowave sun and palm trees, she commanded the stage with impressive vocals, playful charisma, and even a few Pilates-inspired moves while singing. Midway through the set, McKee shared that she had “pulled a Taylor Swift” and purchased the rights to her earlier music. She expressed how happy she was to finally own those songs and have the freedom to perform them again. She also turned “SLAY” into one of the set’s most interactive moments, leading the audience through a YMCA-style rendition of the song’s choreography. One of my favorite moments of her set came when she transformed “American Girl” into a mashup featuring snippets of several hits she helped co-write, including “Teenage Dream,” “Dynamite,” and “California Gurls.” Her energy was the perfect spark to get the crowd moving and hyped for the headliner, and after her set she welcomed everyone to come by her merch table to say hello and take photos together.
As the lights dimmed, slow, moody synths filled the room while each member ofThe Midnight made their way onstage, opening with “Sanctuary” before flowing seamlessly into “Love Is an Ocean.” This time, lead vocalist and multi-instrumentalist Tyler Lylewas backed by a full band—a noticeable change from last year’s lineup of Lyle, producer-songwriter-composer TimMcEwan, and saxophonist Justin Klunk. Unfortunately, McEwan was not on the road this time after stepping back from touring to focus on producing. Even without him onstage, the band brought the Time Machines Tour concept to life with an incredible 22-song journey through their discography, balancing early fan favorites with new material from their latest album, Syndicate. From beginning to end, The Midnight put on one hell of a performance with everyone singing along in unison.
The crowd danced along to every note of “Gloria,” while “Deep Blue” carried the kind of nostalgia that makes The Midnight’s music feel like a memory you have lived before. During the song, saxophonist Justin Klunk stepped forward and erupted into a soaring solo. “River of Darkness” shifted the atmosphere, painting a picture of heartbreak, wandering city streets at night, and mindlessly boarding a train toward the light—a reminder that even the darkest moments can eventually give way to better days.
One of my favorite moments of the set came when Lyle led the room through an exercise in appreciation and reflection. He asked everyone to think of a record that had changed their life or meant something deeply to them before counting us in: “One, two, three.” The entire crowdshouted the names of those albums at once. I couldn’t make out a single title through the jumble of voices, but that was what made the moment so special—everyone in the room had a different record and a different story worth celebrating.
Photo by Ryan Cagle
SETLIST:
Sanctuary,
Love Is An Ocean
Friction
Gloria
Lost Boy
Deep Blue
Rivers of Darkness
The Energy Never Dies
Comeback Kid
Shadows
Runaways (featuring Bonnie McKee)
Jason (featuring Bonnie McKee)
The Right WayLos Angeles
River of Forgetfulness
**Medley of different songs**
First Night In Paris
Good In Red
Vampires
Days of Thunder
**ENCORE**
Summer Is Ending Soon
Sunset
Before performing “Comeback Kid,” Lyle shared the unexpected story behind the song. “Back in2016, we were approaching the deadline for Endless Summer. Three hours before it was due, Tim sent me a rough draft of a song called ‘Kids’ and asked if I could write something for it.” Little did Lyle know that the song would become so meaningful, not only to listeners but also within his own life. He explained that he has found himself having to become the comeback kid many times, even when he never wanted to, which is why the song remains so close to his heart.
Bonnie McKee returned to the stage for “Runaways,” the track on which she featured in on the band’s latest album, Syndicate. The song sounded even better live, and watching her chemistry with the band made the moment feel even more special. She stayed to perform “Jason,” where her high notes and undeniable stage presence brought to mind pop icons like Madonna and Mariah Carey
The room transformed into one collective choir during “Los Angeles.” Lyle paused in the middle of the song to take in the love pouring from the audience as hands reached toward the air and everyone sang “Hands raised like a gospel choir” back to him. The song’s reminder that we would all return to our everyday lives tomorrow hit especially hard, encouraging us to embrace the moment because it won’t last forever.
Red light flooded the room during “Good in Red,” while “Days of Thunder” brought Justin Klunk directly into the crowd. He moved through different areas of the venue, pouring his soul through every note of his saxophone. I sprinted up to the mezzanine to capture the experience fromabove, giving me a completely different view of Klunk surrounded by the audience.
When the band walked offstage, the crowd was nowhere near ready for the night to end. Chants for one more song filled the room, and it was not long before The Midnight returned to perform “Summer Is Ending Soon.” With autumn just around the corner, the song felt fitting, but its story of true love coming to an end gave the moment a deeper sense of heartbreak. To our surprise, that still was not the end. The band delivered a beautiful final performance of “Sunset,” with the entire crowd singing along and sending the night off on one last wave of fun and nostalgia.
The Time Machines North American Fall Tour continues through until October 19th, taking audiences on a journey through the different eras of The Midnight’s music before launching them into the band’s newest chapter of Syndicate. It really is more than just a concert—it’s a chance to relive old memories, create new ones, and remember how quickly these moments pass. If The Midnight is coming to your city, don’t let this tour become a memory you only hear about from someone else.
