Alex Warren Unveils "RESCUER" @ Sold-Out MSG Debut

Last updated: 17 Jul 2026, 20:44:45
Published: 17 Jul 2026, 20:44:45
Written by: noahjwade_
Photography by: Jessie Eshak; Elie Pichanick / MSGE
Categories: Setlist.fm ExclusivesGeneral NewsLive DebutsOn Tour Now Tagged: Alex Warren Madison Square Garden Finding Family on the Road Alex Warren at Madison Square Garden Noah Cyrus at Madison Square Garden

One night prior to his sold-out MSG debut, Alex Warren stopped by a midtown Manhattan recording studio for an exclusive listening session of his new album, WILDCHILD, out on August 28th.

For what was a casual, lighthearted affair, invitees were seated on couches and chairs throughout the space and were treated to an array of soft drinks and appetizers. Once Warren himself arrived and candidly worked through tech issues, he described the project as sort of a hodgepodge of sonic elements. A statement of this kind is typically taken with a grain of salt, but in this instance, he was correct. As he outlined the album in full, sans its pre-released singles, and illustrated the context behind each tune, it was clear that WILDCHILD is an exploration into new musical, and surely vocal, territories that serve as the backdrop for both his continued unraveling of past traumas and unyielding dedication to wise beloved wife. Emotionally, the project insists on pulling the curtain back on these topics, further than he ever has before.

Most noteworthy were “WON’T COME BACK AGAIN” and WILDCHILD’s title track, with the former resulting in several quiet murmurs of shock from those in the room due to its atypical nature, at least for Warren. The latter, with a lengthy assist from a very special guest that must be preserved until its release, is musically abundant.

And with that event behind him, it was time to prepare to play the final show of the US leg of the Finding Family on the Road Tour at Madison Square Garden.

Kicking off the evening the following night was Noah Cyrus, back at MSG for her second opening act slot nine years after her first on Katy Perry’s Witness Tour. A memorable family affair, both her father Billy Ray and sister Miley joined her for an impromptu rendition of “Achy Breaky Heart” on that occasion (where in the hell was Trace??). Upon further review, neither Miley nor Billy Ray have ever performed a dedicated headline set at MSG, despite their decadent touring resumes, but now Noah, whose artistic growth is at an apex, is certainly on her way to doing so.

From the ethereal musical qualities of “Light Over The Hill” from the new film Reminders of Him and “Apple Tree,” the latter largely influenced by the writing of her great-grandfather Eldon Lindsey Cyrus and later sung by her grandfather Ron “Pappy” Cyrus (Miley performed her 2009 Wonder World Tour in his honor), Noah’s sylvan stage presence, style aesthetic, and vocal candor were instantly evident.

Midway through the set, in yet another example of multi-generational MSG lore, she’d welcome her friend Franklin Jonas, whose brothers just sold out the place three times in the last week or so, to the stage for a surprise duet of their song “High and Sad.” The tune positively emphasizes the folk-leanings of both acts. She'd close with her easy-listening staple “July,” but her performance of the underrated Americana-like tune “I Got So High That I Saw Jesus” was riveting, as she stood flat-footed at the end of the catwalk and belted its final chorus with precision and accuracy.

Warren took the stage promptly at 8:50 p.m., receiving one of the louder receptions for a new-gen artist this writer has heard in some time at MSG. He, alongside his multi-piece folk-led band, ran through a bulk of the extended edition of his album You’ll Be Alright, Kid, continually dictating the rise and fall of emotional and musical dynamics over the course of the hour-and-fifty minute set. WILDCHILD’s three singles, “PASSENGER,” “FINE PLACE TO DIE,” and “FEVER DREAM,” were placed intermittently through the set as well.

YBA,K tracks like “Troubled Waters,” “Bloodline,” and “Eternity,” an addition to “PASSENGER” with its audience-interactive phone light movements, were well-positioned within the shows first third, their stomp-clap elements and extended live renditions seamlessly blending into the room. “Bloodline” in particular was a highlight for its heightened emphasis on each individual musician onstage, as was “You’ll Be Alright, Kid,” as the first major sing-along of the evening.

As the marquee name, Warren is, of course, the star of the show, though his eight-piece band ensured they too would grab some of the spotlight. Backup singers Brennan “Beane” Helpler and Tehillah are a package deal, with their dual choreography and unending energy creating an infectious vibe without sacrificing vocal integrity. Drummer and bandleader Tim Spier, cello player Isaiah Gage, and keyboardist Jem were clear standouts as well for their technical aptitude.

– By Jessie Eshak; Elie Pichanick / MSGE

Moving to the B-stage in the center of the general admission floor, Warren embarked on a lengthy soliloquy about grief, silencing the room in the process. Reflective silence, from the youngest to the oldest in the room, as Warren’s words defining his version of grief struck a chord. He broke the spell with the live debut of “RESCUER,” a highlight off the new record due to its memorable melodic cadence and lyrical themes, at the request of his wife. “SAME STARS,” also off the new record, is similarly played on the B- stage and is fitting for the setting.

Back on the main stage, the crew took it home with yet another well-curated selection of bangers and ballads, including the Imagine Dragons-esque “You Can’t Stop This,” “Carry You Home,” “Burning Down,” and “FEVER DREAM.” After pushing through a half hour of small stage banter and sad songs, the crowd immediately came back to life for both “Carry You Home” and “FEVER DREAM,” knowing what was next on the docket.

Undoubtedly, the entirety of the show built to the performance of “Ordinary,” the smash hit now known the world over for its euphoric religious themes and steadfast romanticism. Fully committed to and aware of his vocal limitations, Warren delivered an earthy yet genuinely wonderful performance of the anthem, before running off into and around the crowd as the band played him off. As he did so, he allowed his fans to experience a fleeting moment of authentic physical connection.