LOS ANGELES, CA- My introduction to Mustard Service came embarrassingly late. Earlier this year, I stumbled upon their single “Big Time,” and was immediately pulled in by its breezy, heart-on-sleeve groove. I ended up writing about it for Blurred Culture, calling it a “zest-soaked breakup anthem for the soul” source. That track was my gateway drug into a band that, to my surprise, had been steadily building a catalog since 2017.
Since that moment of discovery, their latest full-length, Vice City Magic, has become a near-daily soundtrack for me. It’s not just a summer fling… I’m going to say it’s my album of the summer. There’s a special kind of laid-back joy that runs through the record, blending indie rock warmth with new wave shimmer and sun-drenched vibes that feel tailor-made for warm evenings and late-night drives. The production is lush but never fussy, the lyrics are sometimes cheeky, sometimes wistful, and the whole thing just feels good. I don’t know how else to say it. It simply puts me in a better mood.
Naturally, when I saw they were playing at The Echoplex, I had to be there.
Kicking off the night at The Echoplex was Tony Jupiter, a band that calls itself an “underground Chicano surf goth project” originating from El Paso, Texas. Formed in 2018, the band blends nostalgic guitar riffs with lyrics that feel personal and lived-in, offering a genre-fusing sound that draws from surf rock, goth, and indie traditions. Their Spotify bio puts it best: “With a rich repertoire, there’s a Tony Jupiter song tailored for every listener to savor and enjoy.” That felt true from the very first chord.
There’s a sun-bleached quality to Tony Jupiter’s music that evokes classic surf rock, but layered that with minor-key moods and emotional textures that nod to post-punk and goth. Their performance felt intentional without being too polished, retaining enough rawness to keep it human.
And while the whole band held their own, the bassist was a real standout. Visually was magnetic. He played with swagger, moved with style, and made eye contact with the crowd in a way that kept the energy high. From a photographer’s perspective, he was a dream to shoot—always doing something expressive, always animated without overdoing it. It’s rare for a bassist to have that kind of presence, but he owned it.
For a crowd that largely showed up for Mustard Service, Tony Jupiter made a strong impression. Their songs might not be charting (yet), but they brought the kind of vibe that sticks with you: subtle, slightly brooding, and emotionally resonant. You could tell some folks in the room were already fans, while others were pleasantly surprised by the depth and cohesion of their sound.
Mustard Service wasted no time setting the tone. They opened their set with the very song that introduced me to their world—“Big Time”—and hearing that now-familiar bridge shouted in unison by a sold-out crowd gave me a little jolt of emotional satisfaction. “And I’m on my way,” we all screamed. It was an instant ice-breaker between band and audience, like we were in on something together.
From there, they rolled straight into a handful of Vice City Magic highlights: “Conversation Overtime,” “I’m an Idiot,” “Going Nowhere,” “Yucky’s Song,” “2:00AM,” “High Roller,” and “There You Go Again.” Every track retained that signature warmth and rhythmic bounce, but live, they had an added looseness—a little extra jam, a little more personality oozing out of each performance.
What struck me most about their setlist was its structure. After running through the newest material, they worked backward through their discography, neatly segmenting the night by release. It wasn’t just a showcase of their evolution; it was a thank-you to their longtime fans. Variety Pack cuts like “(Your Cat) Don’t Stand A Chance,” “Baby It’s Scary,” “Night In Tulum,” and “The Dominoes” took us back to 2023. From 2021’s Fiddle Lake EP, we got “Drugs & Alcohol” and “Fiddle Lake,” while C’est La Vie (2020) brought out fan-favorites like “Pleasantries (with your lover),” “Arguments (with your lover),” “Need,” and “Getting There.”
By the time they dipped into their 2017 debut Zest Pop, the crowd was fully primed. Songs like “Get Fucked,” “Oh, Honey Baby,” and “Taking Up Space” were met with full-throated singalongs. Even if you didn’t know every lyric, the vibe was infectious. Everyone was moving.
They even threw in a wild card—a cover of Owl City’s “Fireflies.” A guest vocalist (whom I couldn’t place) joined them for the rendition, and the crowd reaction was pure joy. It was unexpected, a little tongue-in-cheek, but honestly, it fit. Mustard Service doesn’t take themselves too seriously, and that’s part of their charm.
The energy throughout the night felt both polished and casual, like a well-rehearsed house show with just the right amount of chaos. Their fans, many of whom looked barely out of high school, sang and danced like they’d been waiting all summer for this. And maybe they had.
What I found especially rewarding about the set was how intentional it felt. Their chronological sequencing gave every era of Mustard Service’s journey a place at the table. For newer fans like me, it was an education. For longtime listeners, it was a celebration. There’s something thoughtful about giving equal weight to your earlier material, especially when you’ve built a discography that spans almost a decade.
It also made me want to go deeper. Hearing “Get Fucked” or “Need” live gave those songs life. It reminded me how much music can be rediscovered when it’s brought into a live setting, filtered through the energy of a crowd.
As the final chords rang out and the stage lights went down, the only thing I could think was how glad I was to finally catch up. Maybe I was late to the party, but this is one I plan on staying at for a while.
Follow Mustard Service on Facebook, Instagram and X.
*********************
LIVE CLIPS
