State Theatre & 98.9 WCLZ present

Maggie Rogers (Night 2)

with Soccer Mommy

Tue, August 1, 2023

Thompsons Point

Doors: 5:30pm - Show: 6:30pm - all ages

$65 advance
$75 day of show
Kids 3 and under free

All Thompson’s Point shows are rain or shine. Buy tickets in person (without fees) at the State Theatre box office Fridays & Saturdays 10am-3pm, or the night of any State Theatre show. The Thompson’s Point Box Office opens 2 hours before doors day of show. On-site parking is very limited, buy in advance above. CLICK HERE for more transportation info.

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Maggie Rogers

This summer, GRAMMY® Award nominated producer, songwriter, performer Maggie Rogers will embark on a headline tour of North America, including stops at legendary venues like Red Rocks Amphitheatre in Colorado and the Hollywood Bowl in Los Angeles. Kicking off on July 24 in Charlotte, North Carolina, the 12-city “Summer of ’23 Tour” will continue through September 29 in Washington, DC — check out the full list of tour dates and venues below. Singer/songwriter Soccer Mommy will join Rogers for the first half of the tour, while Canadian indie-pop icons Alvvays will serve as support for the second half.

In an effort to keep ticketing fees as low as possible, Rogers will offer a special one-day-only, in-person box-office pre-sale for the “Summer of ’23 Tour”. The bot-proof pre-sale will start tomorrow, April 7, at 10 a.m. local time. In celebration of the tour, Rogers will personally greet fans at Brooklyn’s Music Hall of Williamsburg box-office for the pre-sale on April 7. Tickets in person will be limited to two tickets per fan.

Fans should check box office closing times and locations before heading to the box office. For fans who can’t make it to the box office tomorrow, an online artist pre-sale for the “Summer of ’23 Tour” will begin on Tuesday, April 11, at 10 a.m. local time. Fans can sign up for the pre-sale and register for their pre-sale code at

In addition, the Spotify pre-sale for the “Summer of ’23 Tour” — along with all venue/local pre-sales — will begin on Wednesday, April 12, at 10 a.m. local time. All pre-sales end on Thursday, April 13, at 10 p.m. local time. Tickets go on sale to the general public on Friday, April 14, at 10 a.m. local time.

Rogers’ upcoming headline run will follow The Feral Joy Tour, a sold-out early-2023 outing that included stops at New York City’s Radio City Music Hall, Chicago’s Aragon Ballroom and The Shrine in Los Angeles. Consequence, who hailed her as “an enchanting and charismatic performer, a firecracker” and noted that “[h]er songs have a special kind of ferocity and grandeur that is best felt amidst a crowd.” Alongside the “Summer of ’23 Tour,” Rogers will take the stage at a number of this year’s major music festivals, including Lollapalooza, Newport Folk Festival, Outside Lands, and more. See below for more info on Rogers’ summer festival appearances.

Released last July, Rogers’ latest album Surrender arrived to immediate acclaim from leading outlets like The New York Times (“a hypnotically danceable ode to ecstatic abandon, making leaps and navigating worry”), Pitchfork (“she sounds renewed, submitting to the pull of her heart without apology”), and Rolling Stone (“pop music prodigy…an artist who’s in it for the long haul”). Raw and revelatory, Surrender marked the follow-up to 2019’s Heard It in a Past Life, which entered Billboard’s Top Album Sales chart at No. 1, landed Rogers a GRAMMY® nomination for Best New Artist, and went on to amass over one billion combined global streams to date.

Soccer Mommy

For Sophie Allison, aka Soccer Mommy, color theory is a distillation of hard-won catharsis. The album confronts the ongoing mental health and familial trials that have plagued the 22-year-old artist since pre-pubescence, presenting listeners with an uncompromisingly honest self-portrait, and reminding us exactly why her critically-acclaimed debut, 2018’s Clean, made her a hero to many. Wise beyond her years, Allison is a songwriter capable of capturing the fleeting moments of bliss that make an embattled existence temporarily beautiful. With color theory, Allison’s fraught past becomes a lens through which we might begin to understand what it means to be resilient.

Clean demonstrated Allison’s nuanced approach to lyricism and her disinterest in reducing complex emotional worlds into easily-digestible sound bites. On it, she projected the image of a confused but exceedingly mature teenager — the type to offer up life-saving advice while cutting class under the bleachers. Clean led Soccer Mommy to sell out tour dates and play major music festivals around the world on top of opening for the likes of Kacey Musgraves, Vampire Weekend, and Paramore. A grueling touring schedule made it so that Allison had to get used to writing on the road, a challenge that exhilarated her. She wrote dozens of songs in hotels, green rooms, and in the backseat of the van. The ones that make up color theory were recorded in her hometown of Nashville at Alex The Great, a modest studio where the likes of Yo La Tengo have recorded, just two miles from her childhood home. Produced by Gabe Wax and engineered by Lars Stalfors (Mars Volta, HEALTH, St. Vincent), color theory’s sonic landscape is vast and dextrous, illustrating how much Allison has evolved as a musician and matured as a person over the past year. The melodies on color theory shimmer on the surface, but they reveal an unsettling darkness with each progressive listen.

“I wanted the experience of listening to color theory to feel like finding a dusty old cassette tape that has become messed up over time, because that’s what this album is: an expression of all the things that have slowly degraded me personally,” Allison says. “The production warps, the guitar solos occasionally glitch, the melodies can be poppy and deceptively cheerful. To me, it sounds like the music of my childhood distressed and, in some instances, decaying.” Allison used a sampling keyboard and string arrangements drawn from old floppy discs to lend color theory a timeworn aesthetic. She also opted to enlist her band in the recording process, which hadn’t been the case on any of her earlier releases. “At the base of every song on color theory is a live take done to tape. This album reflects our live performance, which I’ve grown really happy with,” she says.

color theory is thematically subdivided into three sections, each of which is named for a color that distills the mood Allison wanted to freeze in time. We begin with blue, a color that evokes a certain melancholy, and for Allison, illuminates depressive episodes and memories of inflicting self-harm. On “circle the drain,” she admits that “the days thin me out or just burn me straight through” over a swirling, guitar-driven arrangement that inspires a sense of ease in spite of the distressing lyrical content. The next section is represented by yellow, a color that points to illness, both mental and physical. “My mom has been terminally ill since I was a pre-teen, and I never really found a way to deal with it,” Allison says. “On ‘yellow is the color of her eyes,’ I sing about a period when I was on an international tour and kept feeling like my time with her was ticking away.” Lackadaisical from the outset, the song marries its relaxed arrangement with gutting lyrics that will ring true to anyone who has ever witnessed a loved one’s health decline.

The final section, represented by grey, addresses that fear of loss directly. “Watching my parents age and witnessing sickness take its toll made me think a lot about the cycle of life, and forced me to confront the paranoid sense that death is coming for me,” Allison says. On the color theory’s closer, “grey light,” she doesn’t shrink from the terrifying promise of death’s inevitability and instead gives herself over to it completely. Atop a faded, oceanic bed of instrumentation, she unflinchingly admits, “I see the noose/ It follows me closely whatever I do.” But it’s not all tragic, and moments of lightness appear on this album, too. Take lead single “lucy,” which navigates an all-consuming dread with cunning wit and showcases Allison’s deft songwriting prowess. Here, she pleads with a devilish character and succumbs to his cruelty just as easily as she delights in his attention. “That irks me — that I’m falling down/ From heaven through the Earth/ To hellfire to wear his crown,” she sings, the twinkling instrumentation taking on an eerie, unsettling bent as the song progresses.

color theory investigates a traumatic past in exacting detail; in doing so, Allison finds inroads for healing through self-acceptance, and occasionally, humor. (“I’m the princess of screwing up!” she declares at one point.) This isn’t a quest to uncover some long-since forgotten happiness so much as it is an effort to stare-down the turmoil of adolescence that can haunt a person well into adulthood. Allison is a gifted storyteller, one who is able to take personal experience and project it to universal scale. On color theory, she beckons in outsiders, rejects, and anyone who has ever felt desperately alone in this world, lending them a place to unburden themselves and be momentarily free.