Publication Date: December 19, 2025
OTHER GREAT STORIES
December 19, 2025Uncategorized34th Annual Almost Acoustic Christmas
Energizes The Kia Forum
December 18th, 2025 Review by Jimmy Alvarez
In a year that we experienced every form of weird, we were also given moments that defined why music is the great communicator. On December 13th, Audacy gave us the 34th annual KROQ Almost Acoustic Christmas. Despite the caption of the year of weird, this show delivered and brought smiles to faces of everyone at the Kia Forum. This edition of this Christmas festival benefited two local organizations, Para Los Niños and the Al Wooten Jr. Youth Center.
As in years past, the show was sold out, and fans came early – I mean as soon as doors opened, the masses were ready to go. As the crowd made its way to the Forum parking lot, the morning show was already set to do a live broadcast, and it was a testament of just how much success the station had in 2025, and the morning show as well.
Being dubbed the number one morning show in Los Angeles in the last ratings book, fans showed their love for the staff, and the crew was hyped to see so many people at their broadcast and engaged with fans like rock stars.
It didn’t take long for the show to start, and throughout the night all of the on-air personalities took turns introducing the bands. Leading off was Atlanta’s The Paradox. I had a chance to speak with them before they took the stage, and they were pumped to be there and so gracious in the reception the SoCal fans have given them over the past year.
The band from the ATL came out strong, opening with their massive hit, “Get the Message.” Fans lost their minds and showed just how much they loved them with an enormous ovation as they hit the last note to the tune. They followed up with “Bender,” “Leave My Room,” and “No Strings Attached.” Both Eric Dangerfield and Celan thanked the crowd for coming out early and for supporting them tonight and all year.
The Paradox closed their energetic set with a couple of bangers, “Do It Again,” “Ms. Lauren,” and they took a final bow to “Do Me Like That.”
In speaking with fans and even other members of the media, everyone was impressed by their sound, and their stage presence was that of a very tenured band. That in itself is a testament to who these artists are. They opened some eyes as they provided ear candy for all in attendance.
With a rotating stage, it took no time for the next band to come out. From the Isle of Wight, the Forum erupted as Rhian Teasdale and Hester Chambers and the sonic cast of Wet Leg took the stage.
Opening with a crowd favorite, “Catch These Fists,” Wet Leg took no prisoners as they took us all on a sonic odyssey that captured the successful year that saw them atop playlists across the planet.
Fans screamed their lungs out over “Wet Dream,” “Davina McCall,” “Pillow Talk,” and “Angelica.” The set was no-nonsense – the band and their instruments – and they simply killed it. Time stood still as they played “Chaise Longue,” and “their mega-hit, “Mangetout.” The roar of the crowd for that one had to be measured in decibels; it was that loud.
In between sets I had a chance to catch up with Yellowcard. They too were humble and in awe for this lineup and the year that saw them also climb to the top of playlists everywhere. Lead singer Ryan Key said they were stoked when Travis Barker reached out to them, and the reception they got to “Better Days,” stating it was just surreal. As they stepped on stage, the band was ready to show the crowd how much their support the past year has meant to them.
They opened up strong with “Way Away,” they segued right into their catalog that had the crowd screaming – they got “Breathing,” “Lights and Sounds,” “Bedroom Posters,” and “Empty Apartment,” and as they came up for air, their set was just about over.
That’s the only downside to great shows like this – bands play abbreviated sets, but they could be out there for much-much longer. Regardless, each band, especially Yellowcard left their mark when they dove into “Better Days” and closed with “Ocean Avenue.”
It was an unbelievable rotation of bands, other notable performances included Third Eye Blind who delivered on all their classics, and The All-American Rejects who also electrified the crowd.
By now it was after dark in the City of Angels, and our sonic legends were set to take center stage. I had a chance to chat with the legendary frontman of punk icon Social Distortion: Mike Ness.
First, he looked great, as good as I have seen him since the band first formed. When asked how he was he said, “I am good, and looking forward to this one.” When asked how he prepares for shows these days he said, “I have a different perspective and level of appreciation to be able to do what I love and play music.”
He went on to say he feeds off the energy of fans who love their timeless songs. With a soft tone, I could tell Mike was ready to drop an epic performance.
Doug “The Slug” had the honors to bring out Social D, and on cue, the crowd went nuts! Social D opened with “Born to Kill,” “Tonight,” and fan favorite “Mommy’s Little Monster.”
With a look of gratefulness, Ness thanked everyone for coming out. Then it was the beginning of the band’s legendary catalog that captured everyone’s hearts: “Ring of Fire,” “Reach for the Sky,” before ending with their signature tune, “Story of My Life.”
In a move only Audacy and KROQ could pull off, out came a surprise guest – Linda Perry and 4 Non Blondes. Perry wore a beautiful volcanic outfit with her signature hat and she too looked amazing.
The thing about Perry, she has one of the most recognizable voices in the music scene. She too appeared moved by the reception the band received. The set was short but very-very sweet. They dropped “Beautiful,” and a very cool rendition of their era-defining international hit, “What’s Up.” It really was a goose-bump moment.
Just like that, the stage rotated and the next two bands came out and delivered equally electrifying sets. It was time to get really-really loud!
Rise Against did what they do, tear up the stage and they brought another level of insanity to the Forum. Jacoby Shaddix was also amped, and his performance was exactly what the crowd expected, demanded and got from Papa Roach as “Last Resort” brought the house down!
As the night drew to a close, Amy Lee was the main attraction as Evanescence was ready to amaze. Opening with “Afterlife,” it was clear that everyone needed to hold on to someone or something because the sonic boom the band delivered was nothing short of jaw-dropping.
“Made of Stone,” “Going Under,” and “Take Over,” also had the crowd glued to the Forum. Lee’s vocals are always a-maz-ing, and that signature sound resonated so much grander tonight for some reason. “Call Me When You’re Sober” and “Lithium” caused a ruckus, and then came out K.Flay to join Lee on “Fight Like a Girl.”
The hits just came out, “Better Without You,” “Imaginary,” “End of the Dream,” and “My Immortal” had the crowd in awe of not just the vocals, but the artists of the band.
For the grand finale, Lee was joined by Papa Roach himself, Jacoby Shaddix, who helped her close out the night to “Bring Me to Life.” It was an epic moment that wrapped up the perfect night of music.
It’s been 34 years in the making and fans still can’t get enough of this larger-than-life holiday show. Needless to say, Audacy and KROQ have an event that literally defines an era in music and life through music. Fans left with that feeling that this show is part of their life, and they can’t wait to come back in 2026.
SHOW PHOTO GALLERY
by Green Eyed Blonde Photography
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December 17, 2025UncategorizedSenses Fail & Story of the Year
Bring the Scream Team Tour to Anaheim
December 17th, 2025 Review by Joey Clark
Last week, the Senses Fail and Story of the Year co-headlined Scream Team tour proved that the love for post-hardcore and emo remains as strong as ever. What unfolded over the course of the evening wasn’t simply a nostalgia-driven package tour, but a night that honored the past while sounding fiercely alive in the present.
With Armor for Sleep opening the night, the lineup felt thoughtfully curated. It was clear as I witnessed each performance resonate deeply with a crowd that spanned multiple generations.
Armor for Sleep laid the foundation, delivering a performance that felt intimate and powerful on the heels of their latest release, “There Is No More.”
From the moment they stepped onstage, it was evident they weren’t there to coast on the past alone. Their set leaned into the band’s signature blend of melancholic melodies and emotional weight, reminding the audience why their music has endured beyond trends and eras.
Songs that once soundtracked teenage heartbreak now carried a deeper resonance, shaped by time and lived experience. Ben Jorgensen’s vocals were restrained yet emotive, striking a balance between vulnerability and control, while the band’s meticulous musicianship allowed each song to breathe in a live setting. As an opener,
Armor for Sleep did more than warm up the room – they foreshadowed an evening that would be emotionally reflective and impactful.
When Story of the Year hit the stage, the energy shifted dramatically, erupting into a wave of kinetic energy. Where Armor for Sleep leaned inward,
Story of the Year exploded outward, igniting the crowd with the kind of explosive enthusiasm that has long defined their live reputation.
From the opening notes of their latest single, “Gasoline (All Rage Still Only Numb),” the band played with a confidence earned through years of touring and reinvention.
Their setlist balanced ferocity and fun, blending classic anthems with newer material that proved the band has never lost its edge.
Highlights included “War,” “Tear Me to Pieces,” “Anthem of Our Dying Day,” “Our Time Is Now,” “Sidewalks,” “In the Shadows,” and “Until the Day I Die.”
Frontman Dan Marsala commanded the stage with ease, his vocals being a perfect mixture of raw aggression and melodic clarity.
The band’s chemistry was undeniable, each member feeding off the others’ momentum as the crowd responded in kind – jumping, shouting, and singing along with unfiltered joy.
What stood out most was how effortlessly Story of the Year bridged eras; longtime fans were rewarded with familiar choruses, while newer listeners were pulled in by the intensity of the performance. The set felt celebratory without being self-indulgent, serving as both a reminder of the band’s history in the scene and a declaration that there’s plenty of life left in the band.
By the time Senses Fail closed the night, the audience was primed and ready to dive into their unique brand of chaos. Known for their emotionally charged performances, Senses Fail approached their set with a spirit that felt both urgent and cathartic. Buddy Nielsen’s presence was commanding yet deeply personal, his vocals cutting through the venue with conviction and vulnerability. Each song landed like a shared confession, drawing the audience into a collective emotional release.
The band’s setlist spanned their discography, weaving together moments of aggression, reflection, and defiance. Rather than leaning solely on crowd favorites, Senses Fail curated a journey that mirrored the evolution of the band and its fans alike.
The heavier tracks sparked movement and chaos in the pit, while the more introspective moments brought the crowd together in unified sing-alongs, voices overlapping in a powerful reminder of how deeply this music continues to resonate with people. Some of my favorites of the night were “Calling All Cars,” “Death by Water,” “Wolves at the Door,” “Mi amor,” “One Eight Seven,” “Can’t Be Saved,” and “Bite to Break Skin.”
What made the night truly special was the way the three bands complemented one another. Armor for Sleep opened the door with introspection and atmosphere, Story of the Year tore it off its hinges, and Senses Fail stepped through to deliver an emotional reckoning.
There was a noticeable sense of gratitude in the room, not just from the fans but from the bands themselves. The night didn’t feel like a routine tour date; it felt like a shared acknowledgment of longevity in a genre that was once dismissed as fleeting. A middle finger to anyone who said loving these bands was merely a phase.
In an era where live music often struggles to balance nostalgia with relevance, this show struck that balance perfectly. The Scream Team tour stood as a testament to the enduring power of emotionally honest music.
It wasn’t about reliving the past — it was about recognizing how far everyone has come, and how these songs continue to matter. By the end of the night, one thing was clear: this scene is very much alive, and nights like this are proof that it still has plenty left to offer.
SHOW PHOTO GALLERY
by Highway One Photography
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December 17, 2025UncategorizedEast Coast! Fxck You Tour Ends in Anaheim
December 16, 2025 Review by Kevin Gomez
The pride of New Jersey, Bouncing Souls brought their East Coast! Fuck You! Tour to its last stop at the House of Blues after running non-consecutively since April.
The East Coast Tour extended to far more than just the headlining act, with all four bands hailing from the East Coast, and even the music in between sets was East Coast hip-hop (Wu-Tang, Public Enemy).
First up for the evening was fellow Jersey boys Mercy Union. I would describe their music as emotionally-charged melodic punk, highlighted by Jared Hart’s powerful vocals. They opened with “1998” and “Young Dionysians.” My favorite song of the set was “Prussian Blue,” which featured co-lead vocals from guitarist Rocky Catanese and heart-wrenching lead from Hart.
Hart’s vocals on “The Void” reminded me of Laura Jane Grace or Brian Fallon. The band said how sad they were the tour was ending, especially as bassist Nick Jorgensen pointed out, “It’s snowing back home.”
Hart reiterated and said there was seven inches of snow waiting for them. Before their last song Hart reminded everyone to “take what we learned at Chain Reaction (legendary Anaheim venue closing this week) and Asbury Lanes (equally legendary Jersey venue) and let’s keep building on that.”
The lights turned down signaling the next band the theme song from “National Lampoon’s Christmas Vacation” filled the venue. Although not headlining, I cannot emphasize how many people came early to watch Dave Hause perform with his band The Mermaid.
I like to refer to Hause’s music as “working man’s punk,” embracing elements of bands like Bruce Springsteen and The Menzingers. Hause opened with one of my favorite songs of the night, “Cellmates,” featuring fantastic backing vocals from brother Tim Hause and bassist Luke Preston.
They played “Enough Hope” featuring the lyrics, “if you give ’em enough hope they’ll hang themselves.” “Look Alive” gave me glimpses of “Teenage Wasteland.”
Hause said, “25 years ago I was a roadie for the Bouncing Souls and they were kind and generous enough to say, ‘go start a fucking band.’ I continue to be inspired by them.” He dedicated “Damn Personal” to “anyone out there who’s lost someone way too young.” For “Dirty Fucker,” Hause told the audience, “You can shout this out to billionaires who have everything and want to take from you… but I’m singing this out to the president of the United States!” Dave Hause and The Mermaid closed a strong set with “The Ditch.”
H2O stormed the stage and wasted absolutely no time jumping into “Nothing to Prove” and “Everready,” as the crowd chanted the intro, “Try, but you can’t bring me down!”
The crowd had been timid, although still passionate, for the two openings bands but H2O was just what they needed to draw them into a frenzied mosh pit.
Lead singer Toby Morse led the crowd in the intro for “Family Tree” before guitarist Rusty Pistachio began singing a cover of Fugazi’s “Waiting Room” during the song’s breakdown.
“Faster Than the World” featured sick guitar from Matt “Wildcard” Henderson from Madball. Morse reminded the crowd that their self-titled debut album was turning 30 next year.
Morse, who has been straightedge his entire life, dedicated “1995” to “the chosen few” who have dedicated themselves to straightedge. “Spirt of ‘84” featured a nice bass breakdown from Adam Blake. I really liked the drumming from Toby’s son, Max Morse, on “Thicker Than Water” (featuring lead vocals from Pistachio on the second verse) and the breakneck speed of “5 Yr. Plan.”
Sharp/Shock’s Dan Smith joined them onstage and took lead vocals for the last verse in “What Happened.” A song asking where the heart and passion of punk and hardcore music had gone (“passion before fashion”); a song written 17 years ago, but has never seemed more relevant.
For H2O’s final song of the night, “Guilty by Association,” Morse dedicated it “to our brothers who are playing L.A. right now, Madball.” Sepultura’s Derrick Green came out to do vocals on the last verse as a huge pit broke open.
As they always do, Bouncing Souls walked out to “Don’t You (Forget About Me).” They started off strong launching right into “The Gold Song,” then went into “East Coast! Fuck You!” replacing the lyrics in the second verse to the tour’s opening bands.
Lead singer Greg Attonito lead the crowd in an “oi” chant as they kicked into “Manthem,” featuring co-lead vocals from bassist Bryan Kienlen and guitarist Pete Steinkopf. Kienlen’s bass thumped away for fan favorite “The Ballad of Johnny X” before Steinkopf’s solo.
The band was really showcasing “How I Spent My Summer Vacation,” featuring eight songs, more than twice any other album. This meant we got some real gems like “Late Bloomer” and “No Comply.” Attonito led the crowd into a chant for “Here We Go” before the band went into “That Something Special” leading every voice in the House of Blues to sing, “I want to start again.” Attonito dedicated their new song, “POWER” to “each and every one of your power.”
The last time the Souls had played Southern California was last December, where Attonito sat on a stool in a boot due to a broken ankle. It was great to see him bouncing (no pun intended) around again and when he came down to the barricade to sing “Lean on Sheena.”
The band took song requests and by popularity they played “Shark Attack,” their cover of The Kinks’ “Better Things,” and one of my favorites, “Kid.” They closed their regular set with two classics, “Lamar Vannoy” and “The Freaks, Nerds, & Romantics.”
The Souls came back out to finish off one of the best shows all year with “Apartment 5F,” “United,” and “True Believers.” Highlight of the night was as the band closed with “Gone,” members from H20, Dave Hause & The Mermaid and Mercy Union all came out to sing along with the band as Kienlen was the last one still playing the guitar outro.
It was a great night for music completing the tour with an exclamation point. Fans just finished see the Souls and they were already talking about seeing them next time they return to the OC.
SHOW PHOTO GALLERY
by Todd Markel Rock Images
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December 14, 2025UncategorizedCLOSES OUT TEN CROWNS TOUR
Live at Fonda Theatre
December 14, 2025 Review by Shane Pase
There’s something magical about the Fonda Theatre that never gets old. It’s intimate without feeling cramped, historic without being stuffy, and on Saturday night for the final show of Andy Bell’s Ten Crowns tour, it became exactly what it needed to be: a time machine back to the glory days of new wave, with all the joy and none of the cynicism.
This was the second sold-out night at the Fonda, and from the moment doors opened, you could feel something different in the air. I’ve been to nearly 70 shows this year, and I’ve seen plenty of enthusiastic crowds, but this was something else entirely.
This was a love fest in the most literal sense. The predominantly Gen X audience wasn’t just there to see a show—they were there to celebrate, to connect, to remember what it felt like when this music first moved them.
Before Bell even took the stage, the venue’s pre-show playlist turned the floor into an impromptu dance party. When The Human League’s “Don’t You Want Me?” came on, the entire crowd erupted in cheers and launched into a full-throated singalong while dancing like nobody was watching.
It was one of those beautiful moments that reminded you why we still pack ourselves into standing-room-only venues instead of just streaming concerts at home. Sometimes you need to be surrounded by your people, singing the soundtrack of your youth at the top of your lungs.
Opening act Savannah Pope set an incredibly high bar for the night. I’ll be honest—I hadn’t heard of the LA artist before, and that’s entirely my loss. Pope took the stage with just a drummer and a guitarist/keyboardist, dressed in what can only be described as Moulin Rouge meets Little Red Riding Hood with glam rock boots. But the theatrical costume was just window dressing for the real show: her voice.
Pope’s operatic vocals combined with a genre-bending style that touched on art rock, glam, and dark pop absolutely blew the roof off the Fonda.
The crowd was immediately captivated, and I found myself dancing and cheering right along with them from the photo pit. She even jumped off stage and serenaded the crowd at the front on the floor. It was awesome. She’s the real deal, and shame on me for not knowing about her sooner.
Then came the man himself. Andy Bell emerged in an iridescent mirrored suit that caught and reflected the light that rivaled the large the disco ball hanging above, setting the perfect tone for what the Fonda had become—a giant dance club where 2,000 people were about to lose themselves in 19 songs and two hours of pure joy.
Bell’s voice was in fine form, maybe sitting a bit lower in register than those Forum shows back in the Circus tour days, but perfect nonetheless.
At times, he seemed slightly more subdued than I remembered from those wild Erasure arena shows of the late ‘80s, but then he’d let loose and you’d see that spark, that manic energy that made him such a compelling frontman when “Chains of Love” was burning up the charts.
The setlist proved Bell knew exactly what we needed—a beautiful mix of his solo work and Erasure classics. The crowd devoured every note, dancing and singing without pause. Between songs, Bell connected with the audience in genuine, touching ways. You could see how moved he was by the tour’s success, by the connection with the fans, and he expressed his gratitude throughout the night without it ever feeling forced or rehearsed.
The solo tracks like “Breaking Thru the Interstellar,” “Don’t Cha Know,” and “For Today” held their own alongside the Erasure monsters. When “Blue Savannah” kicked in early in the set, the collective swoon was almost audible.
“Sometimes” had the entire venue swaying and singing. When “Always” arrived mid-set, it felt like the emotional peak we’d all been building toward—until Bell pulled out a cover of Olivia Newton-John’s “Xanadu” that was absolutely perfect.
Bell brought out some special guests too. Luciana joined him for a beautiful duet on “Heart’s a Liar” (taking Debbie Harry’s role), and Sisely Treasure from Shiny Toy Guns came out for “Put Your Empathy on Ice.” Both performances seamlessly integrated into the flow of the show, enhancing rather than disrupting the energy Bell had built.
The encore brought everyone back for the night’s grand finale: “A Little Respect,” with Savannah Pope joining Bell on stage. Then all the evening’s performers came out together. Bell took a moment to introduce everyone, thank the crowd for making the tour special, express gratitude to his tour family and his husband, and that’s when the night transcended from great to unforgettable.
Bell called out Savannah Pope’s boyfriend, who immediately dropped to one knee and popped the question right there on stage. The crowd absolutely lost it. Pope grabbed a mic and delivered the most perfect answer to summarize the entire night’s vibe: “Fuck yeah!” It was spontaneous, joyful, and completely authentic—everything this show had been from the opening notes.
Walking out of the Fonda that night, I couldn’t stop smiling, and my wife could not stop reminiscing as a massive Erasure fan. There’s something powerful about watching a multicultural community come together in love and song, arms around each other, celebrating the music that’s been the soundtrack to our lives.
It was genuinely one of the best shows I’ve been to all year. Pope absolutely slayed in her opening set, Bell delivered everything you could want from a legacy artist who still has the fire, and somewhere a couple is planning a wedding with one hell of a story about how it started.
Congratulations to the happy couple, and thank you to Andy Bell for reminding us all why we fell in love with this music in the first place.
SHOW PHOTO GALLERY
by Shane Pase Photography
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December 12, 2025UncategorizedCelebrates 15 Years of “Streets of Gold”
Live at House of Blues Anaheim
December 11th, 2025 Review by Joey Clark
There are concerts that feel like reunions, concerts that feel like rituals, and concerts that feel like someone accidentally cracked open a time capsule. 3OH!3’s show at House of Blues Anaheim celebrating the 15th anniversary of “Streets of Gold” managed to be all three.
It wasn’t a show designed around polish. Instead, it centered around the desire to take a step back, even if only for 90 minutes, to an era defined by neon, loud fashion, and a sense of freedom that adulthood often chips away at.
Before the headliners took the stage, the night carried the unpredictable energy of a party that could tilt in any direction. The lineup featuring Millionaires and Breathe Carolina wasn’t simply a nod to the past; it was an attempt to rebuild the landscape of mid-2010s electro-scene life. This was the kind of lineup that was once featured on Warped Tour posters and cherished by teenagers who spent entire summers in oversized bows, Vans, and eyeliner.
Millionaires opened the show with a set that felt as much like a statement as much as a performance. Their electro-punk femininity infused within their time onstage was loud, vibrant, bratty, and unapologetically self-aware – the audience joyously soaked up moment. Even after years of dormancy in the mainstream, their sound remains instantly recognizable: buzzing synths, chant-like vocals, and lyrics meant to be shouted rather than sung.
Their set didn’t feel reinvented, and that was precisely the point. It played instead like we rolled into Warped Tour years ago engaging in the glamorous chaos that they’re known to spark. Their presence immediately shifted the audience onto its feet and literally shook the House of Blues.
If Millionaires represented the anarchic side of electro-pop, Breathe Carolina served as its emotional counterweight. Though their sound has shifted over the years towards a more EDM-leaning identity, their live performance still carries the foundation of their early electronicore roots. They served as a smoother, more melodic bridge between the rowdy opener and the impending headliner.
Then all went still, the house lights fell, and the intrigue lingered in the air. When 3OH!3 finally walked out, the room responded with a volume meant for an arena. There’s something to be said for the way a crowd screams for a band they loved in high school. It stands apart from a typical concert scream; it’s warmer, almost affectionate, tinged with the specific joy of remembering who you used to be.
The band opened without hesitation, dropping immediately into the Streets of Gold material that had drawn so many people here in the first place.
Live, the album’s songs take on a different shape. Tracks like “Déjà Vu,” “My First Kiss,” and “Double Vision” hit with the same punch they carried in 2010, though the crowd now sang along with a self-awareness, like adults cosplaying their younger selves for a night.
The duo played with a looseness that made the performance feel less like a recital of old material and more like a celebration of its continued survival. They mugged for the crowd.
They shared jokes. They leaned into the silliness of some songs and the sincerity of others. At times it felt like they were laughing at themselves right along with the audience – and that humility made the entire show feel honest and authentic.
For all its loudness and irreverence, their set carried an undeniable emotional undercurrent.
Songs that once sounded like summer-party anthems now played as reminders of a moment in time when music didn’t need to be dignified to be meaningful. The band seemed aware of this, too.
That self-awareness is what elevated the show beyond nostalgia for nostalgia sake. It made the night feel genuinely reflective, even poignant at times. In a decade that often prizes curated perfection, 3OH!3 doubled down on the imperfect.
Their music was messy, their charm unpolished and in that way, the concert felt like an antidote to an industry that strives for modern pop to have an alienlike sense of perfection.
When the final chorus of “Don’t Trust Me” echoed through the room and the crowd erupted into one last singalong, it became clear that this evening had accomplished something few anniversary shows manage… they didn’t simply remind the audience of the past they breathed new life into it.
3OH!3 proved that music doesn’t have to grow mature with age to remain meaningful. Sometimes, refusing to grow up can be its own form of honesty. And sometimes the most powerful thing music can offer is not evolution, but a connection between who we were, who we are, and who we still want to be… even if just for just a few hours on a Thursday night in Anaheim.
I can’t recommend keeping an eye out for what’s to come from 3OH!3 enough because it will be nothing short of extraordinary.
SHOW PHOTO GALLERY
by Highway One Photography
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December 11, 2025UncategorizedHot for the Holidays Tour
Live at House of Blues Anaheim
December 10, 2025 Review by Kevin Gomez
Santa still has a couple of weeks, but the newly rebranded Spike and the Gimme Gimmes came to town, specifically the House of Blues in Anaheim Friday night for what has become their annual holiday show.
Although known for being a supergroup with an ever-revolving lineup, the current five members of the Gimmes have been together for quite a few years now, which helps explain their exceptionally tight performance. The premiere cover band brought along quite possibly their strongest lineup of bands for Friday’s show.
The evening started with local favorites Greg Antista & The Lonely Streets. They opened with the trifecta of “Shiver,” “Halfway to Whole,” and “Nasty Weather.” The band brought a classic sound of pure punk mixed with rock and roll, at times oozing bluesy rock.
I spoke with drummer Jorge E. Disguster, a local legend in his own right, after the show and he explained that singer and guitarist Antista went to school with OC punk legends Mike Ness and guitarist Frank Agnew, both founding members of Social Distortion. I could sense a strong influence from the legendary Social D in The Lonely Streets’ sound.
Agnew, of Adolescents fame, shred on guitar for the love song, “Rosalita.” Antista introduced their next song as “a holiday tale as old as time.” But then continued with, “you know, your old lady calls the cop… and you wake up in a Tijuana jail” and they played the breakup song, “U-Haul.”
They decided to end with an actual holiday song and played their take on Darlene Love’s “Christmas (Baby Please Come Home).”
The PA started playing “2 of America’s Most Wanted” which could only signal one thing, everyone’s favorite homies Manic Hispanic. If their first song, “Wasted,” didn’t get the pit fully going, their take on Bouncing Soul’s “True Believers” entitled, “Mas Chingones” was the spark the crowd needed to ignite like a powder keg.
It was good to see co-lead singer Louie Perez, III, back in action as he had missed the last few months’ shows recovering from surgery earlier this year.
You’d never know as he sounded great and was back to his usual antics, nut-checking fellow bandmates, Efrem Schulz and Gilbert Pichardo.
In typical convict fashion Schulz and Pichardo tossed out bags of ramen (“the spread” as they call it in the pen) into the crowd. Warren Renfrow began the infamous bass intro for Fugazi’s “Waiting Room” which could only mean one thing, “Holding Cell.”
Perez dedicated “Chancla Abuser” to all the women with the “Wu-Tang chanclas.” Pichardo poured his feelings out for “double-wide” women in “Big Hynas.” They played their ode to our current president with “Naranjo” (Spanish for “orange) with the lyrics, “all I know is he’s a tonto, the Naranjo really don’t know nothing.”
NOFX is always a sure-fire way to get a nasty pit going, and one of the gnarliest pits all night began as Elvis Cortez started playing “The Brews” leading into “Cruise.”
A special moment came as Manic welcomed Jonny “2 Bags” Wickersham on guitar and David Hidalgo on drums, both of Social Distortion fame.
The band paid homage by playing “Mommy’s Little Cholo” before wrapping things up with “Paisa.” As Manic Hispanic paid their farewells Perez told the audience, “I’m going into the hospital Wednesday and if I don’t make it back, I fucking love you.”
All night the stage was decorated with several pink Christmas trees, two giant nutcracker statues flanking the drums, and a giant ornament hanging from the ceiling with the “gg” (Gimme Gimmes) anagram.
Spike Slawson and the boys took the stage as he began playing the gentle opening to “Santa Baby,” before the rest of the band exploded into their punk rock take on the holiday classic led by guitarist Jake Riley’s insane playing. Wasting absolutely no time they jumped right into a block of country covers, “Jolene,” “Country Roads,” “(Ghost) Riders in the Sky” (which saw Slawson riding an inflatable reindeer), “On the Road Again,” and “Sunday Mornin’ Comin’ Down.”
Slawson paid tribute to the late great Ozzy Osbourne telling the crowd, “The Prince of Darkness has left the building,” and the Gimmes played Black Sabbath’s “Changes.”
CJ Ramone led the incredible bassline for their brilliant mashup of “Love Will Tear Us Apart” and “Love Will Keep Us Together,” which Slawson told me was the ingenious creation of drummer Andrew Pinching. Keeping with the holiday spirit Slawson brought out a jingle stick for their take on “Feliz Navidad.”
John Reis began playing the guitar intro for The Clash’s “Janie Jones,” which led into their cover of Abba’s “Dancing Queen.”
The Gimmes even kept things contemporary with their cover of Olivia Rodrigo’s “Good 4 U” featuring Riley’s guitar intro from “Ever Fallen in Love?” The Gimmes closed their regular set with Elton John’s “Rocket Man.”
Spike brought back his ukulele for their encore as they played their latest single, “All I Want for Christmas is You” highlighted by “Suburban Home.” They kept that sleigh a-rolling with Slade’s, “Merry Xmas Everybody.” They crushed a glorious version of “Somewhere Over the Rainbow,” because as Slawson put it, “if you don’t like Judy Garland, fuck you.”
As things came to a close, the Gimmes wrapped things up with a bow with the aptly titled “End of the Road” before playing one last reprise of “Feliz Navidad.” Merry Gimmes to all, and to all a good night!
SHOW PHOTO GALLERY
by Todd Markel Photography
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December 9, 2025UncategorizedLive at Alex’s Bar
December 9th, 2025 Review by Kevin Gomez
Arizona’s finest, Authority Zero came to Southern California to rock a pair of shows with a stop at Alex’s Bar in Long Beach. The venue was decked out for the holiday season and hosted a lineup of four punk bands Thursday night that went well after midnight (on a school night!).
Kicking off the night was Stoke Signals out of Los Angeles. I really liked their sound, particularly lead vocalist and guitarist Giuliano Messina, who had a version of Midwest emotional screaming vocals that reminded me of bands like Gaslight Anthem and Alkaline Trio.
I felt a lot of passion from his vocals and the band’s accompanying music on songs like “Jeff’s Best Friend” and “How to Lose a War.” For “Mummy,” Heartwells lead singer Justin Tauch hopped on stage and took vocals for the last chorus. They finished their set with “Holy Fangs” and their single, “Take the Wheel.”
Next up was fellow Angelenos, SUNBURNT. Playing a slower, melodic punk the band was not quite as heavy, but no less intense. They opened with “Not About It” and then went into “Tunnel Vision.” “Repeating” began with a soothing bass intro from Alex Pombar with piercing vocals from Justin Tyler. Pombar said, “This song is for all the parents out there,” as they eased into “In Front of Me.” They had the crowd singing along for the band’s last song, “Built for This.”
The crowd immediately packed in close to the stage as fan favorites Chaser took over. Community is a huge part of Chaser and nothing captures that more than their live shows.
Friends who have become like family, gathering every time they play a show, near or far. They launched into “Brand New Enemy” featuring a shredding solo from guitarist Bill Hockmuth.
Jesse Stopnitzky kicked off the sick bass intro for “Good Times” that reminded me of Rancid’s Matt Freeman. Before the song’s last chorus, singer Mike LeDonne leapt into the crowd’s welcoming hands as he crowd-surfed for the rest of the song.
LeDonne addressed the crowd, “Everyone here has had their battles. Stop and consider the small ways we get along on a daily basis. It’s about how far you’ve come.” The band went into the aptly titled “Small Victories,” the title track from their 2024 release. Ever the fearless frontman, LeDonne jumped down to the floor and stood in the middle of a circle pit and sang “At What Cost” as Davey Guy ripped through drums.
Stopnitzky took lead vocal duties on the intro for “Flying High” before they went into “A Revel Song” as the crowd continued to mosh and even stage dive from the venue’s small stage. Stopnitzky provided excellent backing vocals as Hockmuth played a mean riff and LeDonne finished off vocals for the band’s last song, “Fault Lines.”
It was time for the evening’s headliners, a band that never takes their foot off gas both on and off stage. Their touring life and schedule is about as hectic and busy as any band out there, as the band prepares to tour Japan next week. But on this night, Long Beach was all theirs. If Chaser got the crowd warmed up and awake, Authority gave them a shot of adrenaline to the chest.
Wasting no time at all they came out of the gates with “Get it Right” and “Lights Out.” Singer Jason Devore’s ferocity was matched only by the crowd itself immediately opening up a pit that would not stop until the band’s last note. “12:34” is a song rooted in its thick bassline from Mike Spero and Chris Dalley’s hammering drums. Fans clapped along with Devore before Brandon Landelius’ guitar solo.
“Liberateducation” featured a metal-style solo from Landelius before the song’s ska breakdown that had people skanking in the pit. “21st Century Breakout” saw a three-part harmony outro from Devore, Spero, and Landelius. “Talk is Cheap” was a slowed-down reggae song highlighted by Dalley’s laid-back drumming and Devore spitting out lightning-fast lyrics.
Spero mentioned that fellow Arizona band and “our sisters,” Venomous Pinks were in attendance, which drew a huge ovation from the crowd. Authority played the popular “Revolution” before Devore announced they were “going back in time” and played their first big radio single, “One More Minute” that attracted one of the most intense pits all night.
The band followed up with their cover of Wall of Voodoo’s “Mexican Radio.”
Before closing the night out, Devore introduced their last song as “all about peace, love, and unity” as they finished with “Lift One Up,” which saw Landelius actually playing until his fingers bled as he left DNA all across his fretboard and guitar body.
Much like Chaser, Authority Zero have built a tightknit family of fans that have loved and supported them all these years, partially because this band will literally give you their blood, sweat, and tears with every live performance.
SHOW PHOTO GALLERY
by Todd Markel Rock Images
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SID 251209 | TRACI TURNER | EDITOR [...]
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December 9, 2025UncategorizedPUNK ROCK GIVES BACK
3rd Annual Charity Show
December 8th, 2025 by Kevin Gomez
As the season of giving and kindness approaches us, it’s a great time to reflect on 2025. Although this has been a year of struggle for so many around us, time and again we have seen the punk rock community show up in the darkest of times to support those less fortunate. Punk Rock Gives Back is just one of those wonderful examples.
In their own words, “Punk Rock Gives Back is a charity rooted in punk rock culture, built on the belief that while the world has its flaws, we all have the power to make it better.” Partnering with artists and musicians who donate their time and work to help benefit various causes. “Our work includes providing a platform to infuse existing or new events with a charitable focus, partnering to manage giving opportunities within IRS guidelines, and serving as a resource for efficient, compliant fundraising strategies.”
Punk Rock Gives Back will be hosting their second annual charity show at Alex’s Bar on December 13th. The show will feature performances from local Long Beach heroes Empired, “working class punk rockers” The Jack Knives from Orange County, singer-songwriter Rudy Nuño, Spark of Life, and indie-alt rockers, Unsound Sunday. The event will be hosted by Empired lead singer Bruce Zebal with a special guest DJ set by Face to Face drummer Danny Thompson.
For the third year in a row their ornament auction is back and bigger than ever. On display will be punk-themed Christmas ornaments from over 75 artists. “Each artist has selected a charity of their choice, and 100% of the proceeds from their ornament will be donated directly to that cause. Last year’s event supported more than 30 charities, and this year aims to make an even greater impact.” For those who cannot make the event in person fans can still support by bidding via Punk Rock Gives Back’s online platform. Winning pieces can be shipped out for those not in attendance.
Although admission is free for the event, fans are strongly encouraged to RSVP ahead by getting tickets via alexsbar.com.
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December 8, 2025UncategorizedAnnounces 2026 Tour Dates
December 8th, 2025 by Traci Turner
David Byrne, the legend primarily known as the frontman of Talking Heads, just wrapped up the first leg of his Who Is the Sky tour, promoting his new album of the same name. But that was not enough for the icon – he is going to spend more time with us in 2026.
After welcoming the New Year with dates in Australia, New Zealand, and Europe, Byrne will invade North America in April and jump around through May; a jaunt that includes Coachella. After visiting us, he will go back to traveling the globe for much of 2026.
Photo by Shervin Lainez
For SoCal, we have the Coachella dates of April 11th and 18th. Byrne will pop up north to Santa Barbara and Stanford in between those shows, then head to Vegas after the Indio festival.
Byrne recently dropped a new single, “T Shirt,” which includes the electro-pop we love from him and the “lightly humorous, but always earnest, political commentary” that we’d expect as well. This new album, “Who Is the Sky?,” is Byrne’s first since 2018’s “American Utopia.”
We can also look forward to Talking Heads tracks at the shows as Byrne has been performing such classics as “Once in a Lifetime,” “Life During Wartime,” “And She Was,” “Burning Down the House,” and “Psycho Killer.”
Tickets to the new dates go on sale this Friday but fans can sign up for the artist presale on Byrne’s website to get tickets tomorrow.
The tour will also offer a variety of VIP packages and experiences if you need a little extra Byrne.
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December 7, 2025UncategorizedThe Evolution Of
Live at The Music Box
December 7th, 2025 Review by Jimmy Alvarez
It was a brisk night in San Diego, with a light wind blowing from Petco Park. Fans lined up early because this was going to be a night they would all remember. As I got there, I spoke with a few of the early birds, and they had similar stories: this was a band they all grew up with and wanted to be there as their next journey began.
For me it was 1980 – and on a night very much like this one I was with many of my high school pals after a football game and listening to a new radio station called KROQ.
Then, the station played a song that drew me immediately to this band; it was “Only a Lad.” Since then, for many of their fans, we live to see this band live as it is like a Grateful Dead atmosphere, a high school reunion so-to-speak; this night was no different.
Well, there was one difference, they were about to debut a new lead singer: Jose Maldonado was about to take front and center behind the mic. With no opener before them, the capacity crowd crammed in, and like sardines they were poised to welcome the band to San Diego.
The show was dubbed the Jam-A-Pallooza. It was set as a benefit concert to benefit Cancer for College. The show had significant industry support, local radio kicked in and actors like Will Ferrel put his name behind it. As the pre-show festivities came to an end… and just like that, the band walked on stage.
At first the crowd was respectful and subdued, but as soon as Johnny Vatos hit his high hat, boom – it was on! Opening with “Who Do You Want To Be,” Steve Bartek led everyone into the mayhem with the guitar riffs that was signature Boingo. With John Avila on bass, it took two seconds for the Music Box to get loud.
It was evident that growing up a Boingo fan, Maldonado knew the words, but could he deliver on a performance fans expect, demand and are very critical of.
Best known as the Mexican Morrissey from his other band, Sweet and Tender Hooligans, Maldonado is no stranger to understanding the importance of delivering on a legendary sonic catalog.
With his signature Morrissey pouf in play, Maldonado did not let anyone down; the band’s legacy would stay secure as the sound and delivery is what the crowd came for and got. Songs like “Nothing to Fear,” “Just Another Day,” “Weird Science,” “No One Lives Forever,” and “Grey Matter” took us all back in time and it became a Grateful Dead moment; trying to compare the singer to Elfman was removed from the plate and simply enjoying the band was the focus.
Vatos was Vatos on drums, Carl Graves brought that distinct new wave feel to the undertone of each and every song. Brian Swartz anchored the horns, and Mike “The Spike” Glendinning was masterful on guitar.
Other fan favorites blew the joint up, “Not My Slave,” “Stay,” “We Close Our Eyes,” and “Nasty Habits” had San Diego feel why Morrissey himself gave Maldonado the thumbs up.
His vocals were in sync with the band’s legendary sound and it felt like we were back at Universal Amp or Irvine Meadows for their legendary Halloween shows. That’s how solid the vocals were, and the band: it’s former members – so yeah, it sounded epic!
As the night slowly came to an end, the Music Box crowd got another hit list set with “No Spill Blood,” “Get Your Head Out of Your Ass,” “Only a Lad,” and “Dead Man’s Party” was the closer.
Maldonado being the showman he has proven to be, his onstage delivery and engagement with fans will endear fans to the new crooner.
What’s interesting about the closing, with little time to put this all together – OBFM delivered on an encore that felt so familiar: “Violent Love,” sounded electric; “Minnie the Moocher” had the crowd singing along; and then they said goodbye with “Goodbye Goodbye.”
What a night for the return of old friends; what a night for great music; and what night to be able to say see you at the net Boingo show.
Up next, catch Oingo Boingo Former Members March 13th at the House of Blues Anaheim, then at Stage Red in Fontana on March 14th. Seriously, get out and see this larger-than-life band as their next evolution is here and you have to see it to believe it.
SHOW PHOTO GALLERY
by Green-Eyed Blonde Photography
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SID 251205 | TRACI TURNER | EDITOR [...]
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December 4, 2025UncategorizedLive at House of Blues Anaheim
December 4th, 2025 Review by Bruce R Kilgour
When Irvine-based rock band Thrice went on an indefinite hiatus in late 2011, they had released eight studio albums and were veterans of five Vans Warped Tours. The band’s three sold-out shows at House of Blues Anaheim in 2012 were triumphant affairs and were followed by two marathon 33-song sets at Santa Ana’s Observatory.
Almost three years later, Thrice began their “reunion” tour at HOB, and haven’t slowed down since; they’ve played the Anaheim venue 13 times over the last 10 years.
Celebrating their newly released album “Horizons/West,” the band wrapped up a 27-city tour with two nights at House of Blues. Support bands Modern Color and Downward were along for the entire North American trek.
Sunday night kicked off with a 30-minute set from Downward, which drew mainly from their EP “Downward on Audiotree Live.” The Tulsa four-piece band’s post-hardcore songs were delivered with raw emotion and energy.
South Bay-based Modern Color was next, and their well-received 11-song set was comprised mainly of songs from their breakthrough 2020 LP, “From the Leaves of Your Garden.”
The band’s sound is reminiscent of Deftones at times, with layered guitars and screaming vocals. Strong performances of “On & Off” and set closer “Pale” demonstrated why Thrice invited this popular band along on this tour.
Anticipation for this final Thrice show of the tour was visibly evident by 9 p.m. and the band started their set with the first two songs from “Horizons/West,” the extremely heavy “Blackout,” and “Gnash.” Lead vocalist (and sole lyricist) Dustin Kensrue sang with incredible depth and emotion, as he would all night.
“The Artist in the Ambulance” was next and was clearly a crowd favorite, producing the first mosh pit of the evening. “For Miles” was the first song of the night to feature the considerable piano skills of lead guitarist Teppei Teranishi and was the first of three songs from the critically acclaimed 2005 album “Vheissu.” A few songs later came “Still Life” from “Horizons/East,” the first to really highlight the band’s gang vocal contributions from bassist Eddie Breckenridge and his younger brother, drummer Riley Breckenridge.
Thrice performs with a visually stunning and unique stage lighting that keeps the band’s faces from being seen, which allows a complete focus on the music while adding an element of mystery to the proceedings.
“Stare at the Sun” provided another nostalgic emo blast from 2003. The only song performed from the 2009 album “Beggars” was the mid-tempo “In Exile,” and this was followed by the guitar driven track “Of Dust and Nations,” which saw intense guitar interplay from Kensrue and Teranishi.
Their most well-known track, “Black Honey,” from 2016’s “To Be Everywhere Is to Be Nowhere” was next, and the audience reacted with a huge sing-along. “Albatross” from the new album was next, followed by the beautiful “Beyond the Pines.” The main set ended with the brutal “The Earth Will Shake,” and the crowd was still amped up after the 19-song show.
Returning to stage with Kensrue sincerely thanking the “hometown” crowd for its 25 years of support, they performed the haunting new song “Vesper Light.” There was a time prior to 2015 where Thrice had tired of playing their 2002 song “Deadbolt,” but it has since become mandatory, and the track has closed each show on this 2025 tour.
Thrice has remained intact with no member changes since 1998, and this show (and tour) indicated that the band remains one of the most talented and loved alternative bands of the last two decades.
SHOW PHOTO GALERY
by Tim Markel Photography
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SID 251204 | TRACI TURNER | EDITOR [...]
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December 3, 2025UncategorizedCHIODOS
Celebrates 20 Years Of
All’s Well That Ends Well in Anaheim
December 3rd, 2025 by Joey Clark
There’s a certain pulse that travels through a venue before a meaningful show. On December 21st, that hum will belong to the House of Blues Anaheim, as Chiodos returns to the stage to the celebrate the band’s debut “All’s Well That Ends Well,” a record that has stood the test of time.
Standouts remain “One Day All Women Will Become Monsters,” “The Words ‘Best Friend’ Become Redefined,” “Baby, You Wouldn’t Last a Minute on the Creek,” and “All Nereids Beware.”
Hailing from Michigan after forming in 2001, Chiodos were always masters of the tonal balance: a culmination of piano phrases sharpened to cut through heavy guitars, and driven home by lead singer, Craig Owens’ impressive voice.
In a live setting those dynamics become something other worldly. The quiet parts tighten the room; the loud ones engage a circle pit like no other. Twenty years later, the songs still reverberate with the same sense of emotional catharsis, but now there’s more weight behind them.
After performing at the When We Were Young Festival in Las Vegas in 2024, and the Emo’s Not Dead Cruise in February 2025, Chiodos announced the 20th anniversary tour of “All’s Well That Ends Well.” Owens remains the sole original member and he is joined by Mitch Rogers and Simon Martinez on guitars, Nick Ventimiglia on bass, and Nick Clemenson on drums.
The night begins with two acts that add their own distinct flair. Holywatr brings to the bill a moody, atmospheric tension with their signature take on metalcore. Big Ass Truck adds something different by comparison with their eclectic, groove-driven blend of alt-rock swagger and off-kilter funk. Together, they set the stage for something that is nothing short of exceptional.
When Chiodos finally step out, the effect will be immediate. There will be that distinct swell of voices recognizing the first chords. This night will not be nostalgia for nostalgia’s sake. It’ll be a reunion with music that grew up alongside the people who needed it. In an intimate setting like House of Blues these songs will hit with renewed emotional resonance, and serve as reminder of why they mattered and why they still do.
On December 21st, Chiodos won’t just revisit the past; they’ll reanimate it – with Holywatr and Big Ass Truck lighting the fuse, and a crowd ready to engage in the chaos. Get your tickets now.
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SID 251203 | TRACI TURNER | EDITOR [...]
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