MacDemarco and Mock Media At The Lyric Theatre

September 5, 2025 - Baltimore, MD

Photographed and Written by Caden Forrester @flicksby4ster

Mock Media

Hailing from Vernon, British Columbia, the four-piece band Mock Media set the tone with an energetic opening set. The alt-rock/post-punk group, part of the roster on Mac’s Record Label, delivered a performance that pleasantly surprised many unfamiliar with them. Their sound evokes a mix of classic punk attitude and modern experimentation. One standout moment was “Touch the Ground,” which burst forth with an electrifying drum line and a chant along refrain. The band members’ voices merged in unison before frontman Austin Boylan’s powerful vocal growl cut through the heavy riffs. Drummer Ben Smith’s tight, hard-hitting rhythms and bassist Garet Aronyk’s driving basslines anchored the group’s sound. While guitarist Evan Aasen’s joy in playing was palpable on stage. By the end of their set, Mock Media had proved to be an ideal opener; their gritty yet melodic style meshed well with DeMarco’s vibe, and they had clearly won over the audience. They were a great choice to bring along on tour, and their music would go along nicely on a playlist with DeMarco’s. They did an amazing job of getting the night set off and energized for Mac DeMarco to take the stage next.

Mac DeMarco

Canadian indie rock singer-songwriter Mac DeMarco stopped by Baltimore as part of his entirely sold-out tour across North America and Europe. DeMarco delivered an epic 25-song setlist that spanned his career, while also showcasing he’s still got it with plenty of newer songs featured in the set. He opened with “Shining,” the breezy lead-off track from his freshly released album Guitar (2025). In fact, eight of the twelve songs from Guitar made it into the set, including mellow new cuts like “Sweeter,” “Rock and Roll,” “Home,” and the soulful “Holy.” These new songs blended in perfectly with his older classics, a record DeMarco described as a true snapshot of where he’s at in life.

Longtime fans were thrilled that Mac didn’t neglect his fan favorite hits. Mid-set, the band launched into “Salad Days,” the title track from DeMarco’s beloved 2014 album, prompting the crowd to explode with excitement. Other early-career staples drew applause as well, “ode to Viceroy,” (from 2012’s 2), the woozy love song “Still Beating,” and the smooth jam “On the Level: (from 2017’s This Old Dog), to name a few. By the time he played “My Kind of Woman,” the entire theatre was singing along to its dreamy chorus. I want to specify here that the crowd was gently singing, at a volume equal to Mac’s soft vocals. It was honestly the most peaceful and respectful concert I have ever been to. No screeching voices, just calm melodic singing from the audience.

Notably DeMarco efven delved into his vault of rare tracks. He performed “20191009 I Like Her,” and “20200817 Proud True Toyota,” two instrumental-driven vignettes from his famous 199-track compilation One Wayne G (a massive collection of demos released in 2023). The One Wayne G numbers are seldom heard live, so their inclusion was a special treat for devoted fans. The main set closed with the dreamy synth-laden “Chamber of Reflection,” perhaps DeMarco’s most iconic song, which turned the venue into a sea of swaying cellphone flashlights. For the encore, Mac returned to play “Nobody,” a slow ballad from Here Comes the Cowboy (2019), ending the night on a gentle, introspective note. As the final chords reverberated, DeMarco gave a humble thanks to the cheering audience before exiting the stage.

Stage Antics

Now you might’ve noticed the stereotypical crazy on stage Mac DeMarco wasn’t mentioned in the previous segment. That’s because I felt the antics and highlights from the stage demanded their own section. The performance was not just about the music, it was also a showcase of Mac’s quirky showmanship and connection with the crowd.

Part of what makes a Mac DeMarco show so memorable is his lighthearted stage presence and unpredictable antics. Throughout the Baltimore set, Mac infused plenty of goofiness and charm, keeping the crowd laughing between songs. In typical fashion, he talked to the venue as if it were his living room. At one point, Mac even performed a brief handstand and walked on his hands across the stage, drawing roaring cheers. An example of the kind of eccentric physical comedy he’s become known for on past tours. He even took a capo from someone in the pit and played the rest of the set with it. Tossing the microphone between his hands between vocal segments, he even dropped it on accident once.

The crowd interaction was a highlight of the night. During the tender tune “Another One,” DeMarco had the house crew turn off all the stage lights. It took the crew a few tries to understand he meant to turn off every light in the building, saying, “Even the stage lights, we don’t want any lights on.” Mac DeMarco then asked the crowd to bring up all their phone lights, hundreds of flashlights turned on, and gave the stage a faint glow. In that intimate moment, the audience softly sang along while Mac continued in the dark. It created a magical atmosphere, almost as if the artist and fans were sharing a private jam session. Later, during a song, Mac squatted down and let his bandmates have their way with an instrumental portion. DeMarco began bouncing as he was squatting. To which the audience responded, chanting,” Thank you,” over and over. Mac was confused and asked why they were chanting, “thank you,” to which Alec Meen, the band’s synth player, responded, “It's a meme.”

DeMarco’s sense of humor is on full display as well. Knowing he was in Baltimore, he couldn’t resist a bit of city-specific joking. All night, he made references to the classic song, “Baltimore,” originally by Nina Simone/Randy Newman, quoting the opening lyric whenever he found space to, “Beat up little seagull on a marble stair,” even saying, “Do you know this song? It’s your song.” later between songs he quotedd the line again saying “Just a little one, just a little seagull.” This running gag became an inside joke, especially when Mac introduced his own new song, “Rooster,” as “seagull” just to riff on that lyric.

During “Holy,” the bassist Daryl Johns seized the spotlight with a killer bass solo that earned applause mid-song. In another jam, the whole band playfully extended an instrumental bridge while Mac took a moment to towel off and sip water, prompting cheers as each musician showcased their talent. These moments gave the concert a loose, spontaneous, communal feel, as if we were all invited to a jam session with old friends.

Overall, the Baltimore show encapsulated everything fans love about Mac DeMarco’s live performances: a well-curated mix of new songs and beloved classics, top-notch musicianship delivered in an unassuming way, and plenty of off-the-cuff humor and human moments. The combination of heartfelt indie rock songwriting and absurdist comedy created an atmosphere that was both intimate and outrageously fun. By the end of the night, concertgoers had laughed, sung their hearts out, cried, and even basked in a bit of darkness, all under Mac’s guidance. It's no wonder the entire tour was in high demand; Mac DeMarco proved yet again in this performance that he’s at the top of his game, giving fans an unforgettable experience. Many fans say you can tell Mac is just a guy who likes making music, who happened to become famous, and I would agree, it absolutely shows in his performance and after the show. Mac has stayed after every show on this tour to greet a crowd of fans before boarding his bus and heading to the next show.