Jane Remover @ Franklin Music Hall
[Aya Soussi]
Last fall, after hearing an eruption of reviews absolutely adoring Jane Remover’s third studio album Revengeseekerz, I decided to give it a try. This time last year, I began dabbling in hyperpop with artists such as Frost Children, underscores, and anna luna. I’d seen Jane Remover’s name every time I scrolled through my Twitter timeline and figured I may as well extend my blossoming admiration for loud, autotuned music. The album revealed hit after hit. There were dance tracks, slow songs, and rage screams, all perfectly flowing one after the other. One track even sampled the sound of dropping a pin on an item you drop in Fortnite. Who the hell thinks of that? I want to say I was dazzled, but that would be an understatement. After my fourth or fifth listen, I rated the album a number I never give without absolutely deserving it: a perfect 10. I felt enamored with the inner workings of Jane Remover’s mind, and after 6 long months of waiting after buying my ticket to her “Live Exhibit,” I found myself at Franklin Music Hall’s barricade on September 25, 2026.
Jane’s opener for the Live Exhibit Tour was her friend and celebrated DJ, Dazegxd. I had never heard of him before his set, but he knew how to get everyone amped up for the person the 2,700 people around me were waiting for. The jump-inducing tracks he spun included Chief Keef’s “Faneto,” Ninajirachi’s “Fuck My Computer,” and even a remix of Avril Lavigne’s “Complicated” that felt so wrong, yet so right. Before the show, Jane had posted on her Instagram that Dazegxd’s set would begin at 8 and she would begin her headlining act at 8:45. What no one expected, however, was for her to trick us. Dazegxd spun “TWICE REMOVED;” the fog machines surrounding the stage blasted at max capacity, and Jane appeared as the audience made a sound I had never heard before even after attending hundreds of other live shows. I don’t know why it never registered with artists who have a DJ open for them to simply combine their sets towards the end. It was a marvelous bombshell to the audience, and it ensured that we wouldn’t get tired while waiting for the main act to come out after an opener. I had never been more ready for my arms and legs to be covered in bruises from the metal barricade.
After a mind-boggling entrance, Jane turned to the audience, revealing a stunning white jacket with “The closest thing to human perfection” written on the back. These are lyrics to her single that dropped just two days before the show, “Beauty Sleep.” I felt right at home hearing fans around me going bar for bar with a song they had 48 hours to learn the lyrics to. The song I was most excited to hear played directly after was the notable “Psychoboost:” a passionate, rambunctious track with a striking feature from Danny Brown that you physically can’t hold yourself back from jumping to.
[Gabriel Sullo]
Admittedly, I was late to the Jane Remover wave, but that does not take away from the initial amazement that I experienced when I first heard “Dancing with your eyes closed” in December of last year. I can’t exactly remember the manner in which I discovered the track, but would not be surprised if it was Aya who originally brought it to my attention.
I saw Jane for the first time last June with Aya at The Governor’s Ball. It was an intriguing, high-energy daytime set and Jane was amazing. However, it was short, the weather was unbelievably hot, and Jane didn’t end up playing the songs I was waiting to hear. I thought I knew what to expect, coming into this concert with a bar set at about the same level as my last Jane Remover experience: “pretty good.” Little did I know, I would shortly experience a concert that unapologetically found its way into the top three shows I have ever seen.
On the day of the concert, I put on my Jane Remover Live Exhibit T-shirt that I bought at Gov Ball and met up with Jack, another friend of mine who tapped into Jane’s music months before me. We decided to rely on making our way towards Jane and the barricade little by little throughout the night instead of getting an early spot at the front of the line, which wrapped so far around the block that we could almost see Aya (who had left almost six hours before we did) and the doors of the venue from our spots at the back of it.
We’re in an age where many performers in the “underground,” or Jane Remover-adjacent artists, heavily rely on pre-recorded vocals and backing tracks at their shows; Jane Remover, however, stands as an uncompromising exception, and proved it from the moment she appeared out of the smoke that Friday night. I am not exaggerating when I say Jane sang every word of every song. Fine, I am exaggerating. But no one can do that, and, all things considered, her occasional pauses to catch her breath weren’t memorable in the slightest. Her unmatched effort, on the other hand, was. She sang every song with the same energy that she started her performance with. The crowd’s energy never faltered, and neither did Jane’s. Everyone was jumping and dancing and singing bar for bar with Jane on every song as she jumped and danced just as much as we did.
On multiple occasions, Jane’s evident passion allowed her to transition from tracks like the loud, unhinged, and chaotic “TURN UP OR DIE” to ones like the introspective, melodic “Dark night castle” (my favorite part of the night) in a matter of seconds, all while keeping the same intensity that she exhibited when she first appeared in that stylish white jacket.
[Aya Soussi]
This is one of the only live shows I’ve been to where I didn’t have a single favorite part of the evening, but the alias switch that happened directly after the rampageous “TURN UP OR DIE” is definitely up there. If you’re a big Jane Remover fan, you know that she’s an artist of many side projects. My favorite alias outside of the primary one is venturing, a project that if you played to a listener who only listens to Jane and asked them to guess who it was, $100 bucks says they wouldn’t guess it. venturing primarily releases downtempo, guitar-heavy tracks comparable to Mk.gee or Arthur Russell. To everyone’s surprise, she played the emotional “Drunk lullaby,” the soul-crushing “Believe,” and the heart-shattering “In the dark” (which hit my friend so hard she got the title tattooed right on her hand). It was such a privilege to see an artist with such versatility that she had people head-banging one second and crying the next.
It’s been around a week since my eyes, ears, and soul were graced by this performance. This isn’t recency bias talking when I say that this experience is up there for one of the most unforgettable, riveting shows I’ve ever attended. If another Jane Remover show from the barricade was on the line, I’d camp out in the cold for 6 hours all over again. I will tell my kids about how Jane looked right at me and we head-banged until I felt like my head was going to fall off of my neck. I’ve never been so inebriated from sheer excitement.
[Gabriel Sullo]
Jane Remover’s North America leg of the Live Exhibit Tour will run until November 14, 2026, followed by more international shows. Get your tickets here.
Listen to Revengeseekerz, ♡, and Beauty Sleep on all streaming platforms.
Photos by Aya Soussi.
