Photos and Review by Jolene Rheault
CHARLOTTE, NC — It’s not every night you get ambushed by a marching band of mummies. But that’s exactly how Here Come The Mummies kicked off their set—emerging from the back of the Neighborhood Theatre, weaving through a packed crowd in full costume with a live drum line pounding out the groove. By the time they hit the stage, the place was already in full celebration mode. This wasn’t a concert—it was a funk-fueled exorcism.
Opening the night was Platinum Moon, a New York-based five-piece that blends sleek modern rock with the kind of grit you can’t fake. The band came out swinging with “1975” and “I Am,” delivering clean, powerful vocals and tight instrumentals that instantly grabbed attention. Lead singer AvA Anduze commanded the stage with cool precision, while guitarists Anton and Joseph Klettner built walls of sound that made the room pulse.
By the time they hit “(We Need) Therapy” and “Hold the Gun,” Platinum Moon had the Charlotte crowd moving. Their set felt like a bridge between eras—classic rock energy wrapped in a fresh, youthful spark. They’re clearly students of the greats but not stuck in the past; “Lockdown NRG” and “The Pills” showed a band that’s writing their own playbook. Judging by the cheers at the end, they picked up more than a few new fans before the lights shifted to round two.
Lachy Doley took the stage with his drummer, Jackie James Barnes, delivering a set built on groove, grit, and pure musicianship. Known as the Hendrix of the keyboard, Doley didn’t just play his instruments—he attacked them, bent them, made them cry and scream and testify. His Hammond organ and Whammy Clavinet were front and center as he tore into “Get Out Your Ears Way” and “A Woman.”
There’s something magnetic about watching a musician that in control of his chaos. Doley’s energy filled every inch of the room—funk, blues, and gospel swirling together into something completely alive. The chemistry between Doley and Barnes was undeniable—tight, intuitive, and full of motion.
When the lights dropped and the drum line started echoing through the back of the venue, the room erupted. Here Come The Mummies made their entrance like a New Orleans parade gone supernatural—horns blaring, drums shaking the floor, and a sea of fans pressed in close, phones up, jaws dropped.
Once on stage, the eight-piece band wasted zero time launching into their signature brand of “terrifying funk from beyond the grave.” Every song dripped with humor, groove, and pure showmanship. “Pants” and “Freak Flag” had the crowd losing their minds, hips moving in unison, and nobody standing still. The horn section—complete with baritone, tenor, and trumpet—hit with precision and swagger, while the rhythm section laid down grooves thick enough to drown in.
By the time “RaRaRa” rolled around, the entire venue was one big dance floor. The night peaked when they fired a steamer cannon into the air, sending trails of crepe paper spinning through the ceiling fans as the crowd screamed like kids at a carnival. It was chaos—in the best possible way.
And then came “Attack of the Weiner Man.” Equal parts funk and comedy, it was the standout moment of the set, blending absurdity with airtight musicianship. The band’s timing was flawless, the crowd participation electric.
Here Come The Mummies might be wrapped in bandages, but their sound is anything but buried. They’re tight, playful, and dangerously good at what they do. It’s funk, rock, and soul with zero pretense and 100% commitment to making you dance until your legs give out.
The Mummfest Tour isn’t just a show—it’s an experience. From Platinum Moon’s polished rock energy to Lachy Doley’s jaw-dropping musicianship and Here Come The Mummies’ full-throttle funk, the night was a reminder that live music can still surprise, delight, and completely take over a room.
Here Come The Mummies aren’t just keeping the funk alive—they’re resurrecting it, wrapping it in mischief, and sending it home covered in streamers.
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