On August 15, 2025, Umphrey's Mcgee announced that Scotty Zwang was officially joining the band. His addition was to replace long-time drummer Kris Myers. Ironically the last time I saw UM was in August 2023 at the Stone Pony in Asbury Park, NJ. A large portion of this tour would be without Kris because of shoulder surgery. During his hiatus, UM would feature a rotation of drummers including Scotty Zwang. Umphreys was founded in 1997 and during their 30+ years change is inevitable. The arrival of Scotty to the band brought new life and on February 13, 2026, I witnessed this metamorphosis at the Fillmore in Philadelphia, PA.
UM hit the stage hard with authority opening with There’s No Crying in Mexico. This song has been a preferred opener for the band since 2011. The opening chords are direct, striking thanks to the pocket carved out by the back line, Scotty on the kit and Andy Farag (percussion) and the axe strikes of Jake Cinninger (guitar). This song also introduces the differences between Scotty approach and Meyers. Kris was a director, a heavily driven beat that leads the charge like a tank. With Scotty there is space. The other notes and progression of the entire band stand out more.
Without a break, UM plunged into Hourglass, originating in 2014 this song led by the vocals of Brendan Bayliss (guitar) and the space in sound on space is dotted by the electric tweaks of Joel Cummins (keys). Transitioning into 2009’s Mantis. This song is a notable blend of all UM offers. A raucous metal opening, Joel’s ivory strokes, Brendan’s melodies and subtleties on his guitar, and an overall harmonic vibe to the band. Halfway through, Scotty’s soft touch on the stick opens a high dance groove. This danceability was a keynote of difference between today’s UM and the past mentioned by a friend to me throughout the show. Like the namesake ray gliding through a sea of harmony created by the unity on stage.
Finding its way next to 2009’s Bridgeless. This is the first song of the set where Ryan Stasik (bass) thumps (he was overcoming sound issues prior). UM heavier sound plows forward tunneling through and destroying everything in its path. This effect was a key feature of Meyers’ drumming. It is impressive how the band has rebuilt this feature through a collective cacophony of every instrument on stage while embracing less sound/loudness to embellish elasticity. Stretched space spirals into 2002 2nd Half, the opening of this song is poignant thanks to Brendan’s vocal and the silky ribbon of Joel. Jake also shines with tickled licks, simple manipulations on the guitar neck that open the vortex of possibility. This crescendo is also heightened by the light show by Ben Factor, whose omniscient presence adds depth and class throughout the show.
Following is an exercise is vocal harmony thanks to 2022’s Hiccup. The band thanks the crowd and announces it is good to be back home as an introduction of Eli Winderman (Dopapod/Octave Cat) to the stage for 2019’s It Doesn’t Matter. Fittingly, Eli takes the lead, flowing effortlessly thanks to the space in sound created once again by Scotty’s light wrists. This space also highlights the efforts of Andy (during this show I heard his contribution more than ever) and dueling keys erupt from Joel and his guest Eli, leading to smiles all around.
The closer of set 1 was the most personal song I heard of the evening, Pink Floyd’s Time. Cutting to bone because this show was a celebration of my birthday and the lyrics and sentiment of this song could not express this marker more fittingly. This was also Jake’s time to shine, both with his Gilmour nodes on guitar, and his emotions expressed full force in his vocals.
Opening set 2 was 2022 addition, Unevolved, that begins with a fun funk groove peppered by high electric jive from Jake, turning uphill and darker thanks to UM more signature rock vibe. Stasik drops the hammer and slots in with the backline and song opens into a frenzied jam. What is remarkable is that this attack is layered with Scotty’s dance beats even as UM metal chops appear. Another friend commented to me; his face has not melted since the absence of Meyers, however the switch back of Scotty layered with Jake’s rising crescendo creates this effect for me. The end of this song slowly fades with a blend of Scotty’s subtlety mixed with Brendan’s rhythmic strum.
Up next was one of the more familiar opening rifts from UM, 2009’s 1348. Another classic blend of high-octane rock with Zwang groove and another stellar example of UM evaluation creating space for the even pull of each band member jamming full sail in synchronized direction. So close to Valentine’s Day, UM entered an ethereal romantic rendition of Neil Young’s Harvest Moon, complete with a pink light wash, lit candles on the venue’s multiple chandeliers, and a slow starry spin from the many disco balls in play. Scotty did an excellent job building tension juxtaposed by Brendan’s vocals. Joel then breaks through the dreamlike sway with his opening in 2013’s Slacker. The stop start momentum of this song is also highlighted by a breakdown slapped by Stasik.
Next up, an introverted Valentine’s thanks to a cover of Hall and Oates’ I Can Go for That (No Can Do). Umphrey’s had not played this song in 316 shows (last played 4/29/22). Scotty’s approach was perfect for this choice, light and airy building the groove and creating the vibe that was Hall and Oates. With Scotty, UM strength now forged just as much from the silence of a break as it was from the relentlessness of a jack hammer. Transitioning back into 2009’s Bridgeless (from set 1) giving the crowd one more ride on the Umphrey’s rollercoaster. A slow purposeful build careening us over the hill with a locomotive pounding g-force drop. UM in 2026 is a well-oiled machine of rebirth and the Sky’s truly the Limit for them!
To the crowd’s delight, UM returned to the stage for encore. 2004’s Mulche’s Odyssey, with its rock operatic introduction catapulting into UM signature growl. This song is sly and it slithers and the stage erupts as the band screams, Philadelphia, we f*cking love ya! Love is in the air tonight, taking flight on the emergence of a transformed classic.
Umphrey’s Mcgee “The Sky’s the Limit” tour 2/13/26 The Fillmore Philadelphia, PA
Set 1: There’s No Crying in Mexico> Hourglass, Preamble>Mantis, Bridgeless> 2nd Self, Hiccup, It Doesn’t Matter (Eli Winderman guest on keys), Time (Pink Floyd)
Set 2: Unevolved, 1348> Harvest Moon (Neil Young), Slacker, I Can’t Go for That (No Can Do) (Hall and Oates)> Bridgeless
Encore: Mulche’s Odyssey
More about Umphrey’s Mcgee is available at https://www.umphreys.com
ALL PHOTOS BY CHRIS PAUL
