From first chord to encore: A standout Alepalooza for Queen’s Music Club

The Journal acknowledges that a staff member is affiliated with one of the bands mentioned, but wasn’t involved in reporting or writing this story to maintain ethical journalistic standards. 

There’s something about Alepalooza that feels bigger than a typical campus show.

Maybe it’s the Alehouse stage, or maybe it’s the way Queen’s bands turn a lineup into something that feels like a shared moment rather than just a set of performances. Either way, this year’s edition delivered a night that felt less like a concert and more like a snapshot of a scene in full bloom, one built on a growing community, momentum and a crowd that showed up ready to give as much energy as it’s got. Organized by the Queen’s Music Club, the event took place at Ale House on Mar. 26, starting at 8:30 p.m., capturing a moment that felt as much about connection as it did about the music itself

Opening the night, Twotime set the night immediately, high-energy, unrestrained and completely in synch with a crowd that seemed to know every word. Covers like “Sex on Fire” and “Everybody Talks” blended seamlessly with originals like Closer and their new single ‘Tungtied,” but it was less about the setlist and more about the energy. Fans affectionally dubbed “twotimers” packed the floor, many sporting band tees, turning the pit into something larger than life.

“It was so cool to play to such a music-loving crowd,” wrote in a statement to The Journal vocalist Maxim Cameron, ComSci ’29. “Basically, all of our songs had people singing back to us and dancing. It’s so demonstrative of how beautiful the Kingston music scene is, and by extension, Queen’s.”

That connection between the band and audience felt especially strong during the final stretch of their set. The closing sequence, anchored by Kilby Girl, saw the band move to the very edge of the stage, closing the distance between performer and audience.

“We’re used to more ‘intimate’ venues,” Cameron said, “so when we got up front and center in the crowd, we felt at home.” They closed with an original, leaving the room buzzing and fully primed for what came next.

If Twotime lit the match, Revzed kept the fire going. Their set leaned into high-energy rock staples including “Highway Star,” “Basket Case,” “Blitzkrieg Bop,” and “Mr. Brightside,” but it was their originals, “Welcome to the Real World,” “It’s All About Me,” and “Telescreen,” that performed its identity.

There was a sense of urgency to their set that went beyond the music.

Guitarist Andrew Nasso, ArtSci ’26, hinted at a surprise, and by the end of the night, comments from the stage suggested this may have been his last show with the band. It hung over the final moments in a way that made the performance feel heavier than a typical campus set. But the rest of the band was direct: “Revzed isn’t going anywhere.” That defiance, combined with a recently released EP, framed the night less as a goodbye and more as a pivot.

Next up, Last Call brought a different kind of energy. Their setlist read like a crowd-pleasing dream: “Celebrity Skin,” “Call Me,” “Valerie,” “Hot N Cold,” and “Forget You,” each one landing with full crowd participation. Between covers, they slipped in an original track that held its own, signalling a band equally comfortable interpreting hits and building their own sound.

“The show felt great,” Skylar Flann, ArtSci ’27, wrote in a statement to The Journal. “We were less nervous and more excited than last year.” That confidence translated directly to the stage, where the band took full advantage of the Alehouse’s size, moving, interacting, and feeding off the crowd’s energy. Hot N Cold stood out as a peak moment, both anticipated and delivered. “We put a lot of effort into our setlists,” they added, “so it was really rewarding to see how well everything was received.”

Closing the night, Dutchbaby delivered a set that felt both curated and iconic in the best way. Moving between “Decepatacon,” “Hey Ya!,” “This Charming Man,” and “Stay with Me,” they balanced eclectic cover with a strong lineup of originals, including their recent release “Don’t Pass Me By.” Their sound, confident and distinct, gave the final set a clear sense of evolution and individuality.

They also used the moment to tease what’s next for the band, an upcoming EP recorded at Bathhouse Studios, set to be released soon. By the time they reached the end of their set, the room had shifted from a high-energy atmosphere to something more collective and reflective, a fitting end to a night that was always more about the room than the stage.

For many in that crowd, that sense of community was the real high point. “Most fun show, highlight of undergrad,” said Last Call’s Skylar Flann. “We love seeing the Queen’s community together.” That’s ultimately what makes Alepalooza stand out. It isn’t just a lineup of bands, it’s a network of shared energy, overlapping audiences, and a scene that actively shows up for itself. From packed floors to singalong choruses, the night felt less like a series of performances and more like a collective moment.

More than anything, the night reflected a scene in transition. With Dutchbaby and Revzed nearing graduation and Twotime just beginning to find their footing, Alepalooza captured both an ending and a beginning, an ongoing handoff that keeps Kingston’s music scene evolving.

As Maxim Cameron put it at the end of the night, “it’ll be hard to top.” In Kingston’s current music scene, though, that doesn’t feel like a limitation; it feels like momentum.

Tags

Ale House, Alepalooza, QMC, Queen's Music Club

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