Publication Date June 5, 2026
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June 4, 2026UncategorizedINDUSTRY REPORT # 64
Catching up with L7’s Donita Sparks
June 4th 2026 by Traci Turner
Last year, punk rock veterans L7 celebrated their 40th anniversary with a sold-out bash at the Belasco in Los Angeles. Now the legends have decided to extend the party across North America with The Last Hurrah Tour, which is exactly what it sounds like, unfortunately.
Since they crashed the music scene of Los Angeles in 1985, the “Bricks Are Heavy” band made up of Donita Sparks (lead vocals and guitar), Suzi Gardner (guitar), Jennifer Finch (bass), and Demetra Plakas (drums) has been vocal about who they are, and that’s kinda why we love them. The incredible music – including their mega hit “Pretend We’re Dead” – is a fantastic bonus.
The farewell fall trek will kick off with two nights in San Diego, October 6th and 7th at Casbah, and then make stops in Nashville, Atlanta, Philadelphia, Boston, Chicago, Denver, and more before closing out back home in LA at The Wiltern on November 14th.
Announcing the tour, Sparks said, “When L7 decided to release a documentary in 2015, we thought maybe we would take one last victory lap around the sun by playing some shows. Instead, that lap turned into eleven more years of touring, sweat, new music, and reconnecting with the fans who made this all possible in the first place.”
Sparks went on, “Looking out into the crowd, seeing longtime supporters rocking out next to a new generation of L7 fans has been the most powerful and humbling part of this chapter. We are deeply grateful and ready to give our audiences one last, loud, fun, and hopefully unforgettable night of rock & roll.”
We figured the best source of info for The Last Hurrah Tour would be the legend Donita Sparks herself…
Traci: Donita! How are you?
Donita: I’m good. I’m busy, a little stressed, but it’s all good. We’re getting a lot of cool feedback on the announcement.
Traci: You are very busy! I saw that you’ve also been guest hosting a podcast lately. Are you enjoying that?
Donita: Yes, the podcast is called “Launch Left.” It was started by Rain Phoenix, and she did many, many interviews, and then she wanted to take a break, so she asked if I would guest host, and I did. I loved my guests, and I loved the conversations that we had. I interviewed Lydia Lunch, and Lenny Kaye from the Patti Smith Group, and Michael Des Barres. I really enjoyed it, but I did a lot of research, and it took a lot of time. Rain was like, “Oh, you don’t have to do research, just wing it.” I’m like, “I don’t wing anything!” It was hard work, but I enjoyed it.
Traci: The last time we talked, you mentioned that you liked Amy Taylor as a frontwoman for Amyl and the Sniffers, and now you’re going to tour with them. How did that come about, and have you met her yet?
Donita: I did! I saw her walking down the street in Echo Park; she was not dressed up or anything – she was in like jogging shorts and a t-shirt walking with a guy. I was just like, “That’s fucking Amy Taylor.” I pulled over and I said, “Hey, are you Amy Taylor?” and she said, “Yeah, you’re Donita Sparks!” So, it was really cool – she knew who I was, I knew who she was, and it was just this meeting of happenstance on, on the sidewalk. Then their agent contacted ours, and we’re playing with them next week. That’s how that came about, and we’re really looking forward to it.
Traci: Last year when we talked, you were gearing up for the sold-out 40th celebration event. Now… The Last Hurrah, the final goodbye!
Donita: The Last Hurrah!
Traci: That’s a lot of dates. You are covering the country.
Donita: Yeah. Yeah. It is a lot. When we announced the first dates, then the reaction was very positive, our agent was contacted by a lot more cities, and so that’s why it got so big. We had more days off, but then everything just got kind of jam-packed. It kicks off at the Casbah in San Diego now, and they wanted one show and that sold out, then they added another show. It’s cool, we’re starting out in San Diego and we’re ending in LA after doing the whole country, and it’ll be a cool tour.
Traci: Yeah, I was scrolling and scrolling, “Damn, they’re gonna be gone a while.”
Donita: Yeah.
Traci: Are you allowed to say you have planned?
Donita: We are coming up with ideas and we’re going to put on a show that’s different than we’ve put on for the last few years. There will be surprises in there. No plans for Jack Black coming out or anything like that, but you never know. It’s going to be a different show and a well-thought-out show. I mean, all of our shows are well thought out, but this one’s going to take more preparation.
Traci: Without naming names, is there a song or songs that you’ve always loved but you have never played?
Donita: Oh, this is such a spoiler question.
Traci: You could just say yes and I won’t ask the title!
Donita: Yes, there’s going to be songs that haven’t been heard on stage in 25 years, and then there’s going to be songs that we’ve never played on stage. New songs and old songs. That’s what we’re going to be working on, and that’s why we’re going to have to get together sooner and start rehearsing.
Traci: That was another thing you mentioned the last time we talked; you said you had to get to work because you had to write some new songs.
Donita: Yes, yes, I gotta do some work. I still have to do some work because we want to release a single or an EP this summer, so I’ve got to get on it. We’ve got it lined up with the manufacturer and everything, so I now I have to deliver. So that’s… what do they say? Ten percent inspiration, 90% perspiration.
Traci: When, in your life, did you start writing songs?
Donita: I started writing songs when Suzi and I got together. We started writing songs immediately, and that was in ‘85.
Traci: So, you weren’t writing songs about crushes at like age eight?
Donita: No, no, and I should have been. I should have been, because I wish I had been a better songwriter on our first record. I think I became a better songwriter. I just wish I had been writing earlier, like at 15 or 16. I just thought it was completely out of my reach. I was like, “What am I doing writing a song? Who the hell am I to write a song?” I viewed my idols as so untouchable and intangible, so why would I even consider getting into that arena, you know?
Traci: Well, you’re fucking Donita Sparks! Do it!
Donita: Well, you know, what can I say?
Traci: Was celebrating the 40th last year what put it in your heads to go out big?
Donita: That was it. It was like, “Okay, that’s our 40th. Yeah, we did great. Let’s do it one more time,” because when we went on our indefinite hiatus in 2001, 25 years ago, we did not go out with a hurrah. We trickled down, trickled down, the wheels fell off. When we played our last show, it was in Spain, we didn’t even know it was gonna be our last show. It’s like the Joni Mitchell song, “Don’t it always seem to go that you don’t know what you’ve got ‘til it’s gone?” So, we’re saying bye-bye, and there’s a lot of excitement about it in a good way, not in a bad way. I feel it’s gonna be a joyous occasion. Bittersweet, but a joyful one.
Traci: I saw online comments from fans that they appreciated that ticket prices were reasonable, unlike a lot of other tours right now too.
Donita: Wow, that’s great. I love that, because ticket prices are so expensive for fans and touring is very expensive for bands, and we are not a big enough band. We don’t have enough hits to play county fairs or casinos that can help subsidize your career. We can’t play Jay-Z’s birthday party. It’s expensive for us and we don’t want to jack up ticket prices. Between the cost of a bus and the cost of this silly war we’re in with the oil, it’s a lot.
Traci: Yeah, I’m seeing it all over, and it just sucks. It sucks for the bands and sucks for the fans, but I get it. Plus, not everyone understands just how much goes into touring costs.
Donita: Yeah. I think some of this blue dot fever, whatever they’re calling it, some of that is a little ego-driven because huge, huge artists don’t want to play to an empty stadium. I wouldn’t want to, but the ticket prices, the fans… it’s a mess. Where we’re at, we’re kind of lucky because our fan base is so loyal that we can do it. We just can’t do it any bigger than we can right now.
Painting by Becca Kozak
Traci: Do you guys have a support act or is that secret too?
Donita: We’ve got a shortlist. We’re trying to figure out if we’re gonna bring a band out for the whole tour or go regionally or even locally.
Traci: Now this hopefully will not break any kind of secret. What are you going to do after, when it’s all done? Are you just going to become a lady sitting on a porch yelling at kids to stay off your lawn?
Donita: Well, I don’t have a lawn, so that’s a problem! I’m not sure what I’m gonna do. I’d love to do some solo stuff. I don’t know if there’s a demand for it, but I’m gonna figure it out.
Traci: Well, we won’t push you out the door yet. Let’s enjoy this Last Hurrah starting in San Diego.
Donita: Yeah, we’ve got the two shows at the Casbah October 6th and October 7th, the ender at The Wiltern on November 14th. So be there or be square because it’s going to be fun. We’ve never played The Wiltern before, so it’s kind of, kind of a big deal.
Traci: Really?! I just assumed you had.
Donita: It’s a big place, and beautiful green Art Deco building, very historical. We’re playing a lot of historical theaters on this run. We’ve always done that; I always love that stuff. I’d rather play an old theater than, you know, a new modern whatever. But come on out to The Wiltern for the big show, and if you want, if you like it more packed and sweaty, come on out to the Casbah.
A sweaty night with L7 sounds pretty darn perfect! Join them for The Last Hurrah because according to Sparks, it really is the final run for L7, and you can’t say you were not warned!
In sad news, since our interview the band announced Jennifer Finch would need to sit out the tour due to a “health concern requiring extended treatment.” Tsuzumi Okai will handle bass in Finch’s absence.
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SID 260605 | JIMMY ALVAREZ | EDITOR [...]
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June 4, 2026UncategorizedLive at Music Box San Diego
June 3rd, 2026 Review by Greg Vitalich
For more than three decades, Lords of Acid have found success integrating electronic/techno dance music, heavy industrial rock, and brash sexuality. Founded by Belgian musician Praga Khan, the band’s hypnotic grooves, pounding beats, and provocative lyrics helped establish Lords of Acid as one of the most recognizable names in industrial dance music.
The recent addition of lead vocalist Carla Harvey was all the inspiration I needed to attend my first Lords of Acid show at the intimate Music Box in downtown San Diego. Harvey is well known for her charismatic stage performances and sex-appeal as former co-lead vocalist of metal act Butcher Babies. How would Harvey take on the role as Lord of Acid’s new “Acid Queen?” It was time to experience the Lords of Acid on their 2026 Cheeky and Freaky Tour.
Friday night downtown in America’s Finest City for some great live music: The first of several opening acts I enjoyed was the NYC pop disco glam outfit Tony and the Kiki, who’s drag queen theatrics kicked the night into festive high gear with a wildly entertaining set.
Following that vibrant outrageousness, darkwave act Dead on a Sunday changed the vibe up with a dark melancholy set, focusing on emotion and atmosphere powered by entrancing heavy guitar riffs over synth-driven grooves.
Both supporting acts delivered quality performances that built the night’s energy and readied the crowd for the headliners.
Lords of Acid kicked off their set with the raunchy “Scrood Bi U,” filling the venue with booming industrial dance grooves as a smiling Harvey took the stage with confidence and provocative gyrating body roll dance moves that captivated onlookers.
Sporting a stunning fetish-inspired red short dress, over the knee black spandex boots, and a sparkly “ACID” necklace, Harvey bounced all over the stage singing, “I wanna be screwed by you and you and you…” while pointing to various audience members.
MUSIC BOX
San Diego, California
May 29th, 2026
While Harvey’s powerful singing and sensual dancing captivated the crowd, the band blasted their signature heavy industrial techno grooves transforming Music Box into a raging adult-themed dance club.
Founding member Praga Khan rocked the synth, drummer Galen Waling was a monster pounding the kit, bassist DieTrich Thrall pounded pulsating bass lines while pacing the stage with a stoic goth presence, and guitarist Creighton Emrick (previously with Orgy) provided the heavy distorted aggression over the techno beats.
Fans got a taste of the new Carla Harvey era Lords of Acid material with their single “Dream Boy,” a catchy hypnotic track incorporating the band’s signature hard riffs and techno beats but adding a pop reggae element in the chorus.
Later in the set, Harvey invited over a dozen ladies from the audience onto the stage for “Pussy” and danced playfully and seductively with several ladies, exchanging laughs and hugs with adoring fans.
Another show highlight was the band tossing out inflatable sex dolls during “Rubber Doll.” Fans batted the nude blow ups around like beach balls adding to the carnival-like humorous festive atmosphere.
The exciting show ended with the one-two punch of “Out Comes the Evil” and their signature anthem “I Sit on Acid,” sending the crowd into a final euphoric dance celebration.
The next era for the Lords of Acids is off to a great start with new lead singer Carla Harvey.
Fans responded enthusiastically, cheering her every move and embracing her role as the band’s newest frontwoman. Now I can’t wait for the new album to be released later this year!
SHOW PHOTO GALLERY
by Greg Vitalich Photography
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SID 260604 | TRACI TURNER | EDITOR [...]
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June 2, 2026UncategorizedCelebrates 90 Years
with a North American Tour
June 2nd, 2026 by Joey Clark
Buddy Guy isn’t throwing in the towel just yet folks; he’s back on the road to celebrate his 90th birthday with a full North American tour! We thought the bluesman had used the 2024 Damn Right Farewell Tour as a poignant way of announcing his retirement from the road.
Thankfully, it seems that you can’t hold back the nine-time Grammy Award winner as he pushed on to do the Damn Right Encore tour just last year. I think it’s safe to say we can all appreciate the change of heart from the seasoned musician.
Age does not seem to faze the legend from Louisiana in the slightest. Guy can often be witnessed performing flawlessly one-handed on his signature, polka dot Stratocaster in the middle of a crowd – all as he takes a shot of his favorite indulgence, a shot of cognac.
He is also continuing to rack up awards in his later years as his ninth Grammy was awarded just this year for his 20th studio record, “Ain’t Done with the Blues.” Talk about a man who won’t quit!
Buddy Guy | “Ain’t Done with the Blues
Guy’s tenacity and passion for music is nothing short of awe inspiring. From humble beginnings working the cotton fields in his youth and learning guitar on a two-stringed diddley bow, to becoming a pioneer in blues and a Rock and Roll Hall of Fame recipient, one of a select few musicians to be a Kennedy Center honoree, Buddy Guy is truly one of a kind.
Do not miss your chance to witness this legend in person! The 30-date tour will span the course of three months, and he will stop in SoCal at the Hollywood Bowl on September 9th, and The Rady Shell at Jacobs Park in San Diego on September 11th.
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SID 260603 | TRACI TURNER | EDITOR [...]
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June 1, 2026Uncategorized& Friends Coming to Garden Amp
June 1st, 2026 by Bruce R. Kilgour
The legendary desert-born punk rock outfit Throw Rag is busting out of the Salton Sea and coming to Orange County’s Garden Amp on June 20th.
Known for their chaotic, high-energy live shows and their “psychobilly-meets-surf-punk” sound, the four-piece band is set to headline an entertaining evening of raw rock ‘n’ roll.
The band formed in 1993, and founding members Sean Wheeler (a.k.a. Captain Sean Doe) on vocals and rhythm guitarist Daniel “Scorcho” Lapham remain on board. Francis “Franco” Cronin (bass) and Patrick “Dino” Bostrom (lead guitar) – who both joined in 1994 – also remain on hand. Jorge Disguster (also from The Hangmen and Greg Antista & The Lonely Streets) on drums rounds out the current Throw Rag lineup.
Fans can expect to hear Throw Rag classics such as “Bag of Glue,” “Hang Up,” and “Hollywood” from their 2003 LP “Desert Shores,” along with tracks from their 1999 debut album, “Tee Tot.”
Huntington Beach punk rockers The Grabbers will be bringing their hardcore SoCal tunes to the bill and are sure to perform songs from the 1996 LP “The Hand You’re Dealt.”
The Grabbers do not play too often, so this set will be a rare Orange County treat!
Fullerton’s own Greg Antista & The Lonely Streets will also be performing at this show. Antista has deep roots in the Orange County punk scene, having been a close friend and collaborator with the late Steven Soto (of Adolescents and Agent Orange), with whom he formed the band Joyride in 1990.
The Lonely Streets boasts a truly stellar lineup of Orange County punk legends – Frank Agnew (Social Distortion / Adolescents) and Warren Renfrow (Cadillac Tramps / Manic Hispanic.) Disguster will be pulling double-duty on drums.
Additionally on the bill are San Diego punk rockers The Plagues, plus – in the Locker Room – The Bourbon Saints, The Fryin’ Saucers, and Get In Loser will be doing sets.
Tickets for this blast of summer punk rock fun are now available.
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SID 260602 | TRACI TURNER | EDITOR [...]
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May 31, 2026Uncategorized2026 NORTH AMERICAN TOUR
Featuring THE SMITHEREENS
June 1st, 2026 by Bruce R. Kilgour
Long time new wave mainstays The Fixx have announced a 21-date summer tour of North America during June and July of this year, and on select dates (including both Southern California shows) they will be joined by very special guests, The Smithereens.
In 1979, the five original members of The Fixx did not exactly burst onto the scene. College pals Cy Curnin (vocals), Adam Woods (drums), and keyboardist Rupert Greenall were joined by various bass and guitar players under their first band name, Portraits.
Guitarist Jamie West-Oram joined in 1980 along with bassist Charlie Barrett, and new lineup was briefly known as The Fix, until their new major label – MCA Records – requested a name change to The Fixx.
Their debut album “Shuttered Room” was released in 1982, and modern rock radio fully embraced the two smash singles, “Stand or Fall” and “Red Skies,” as did the barely year-old MTV music video channel.
One year later, their second LP “Reach the Beach” was released and produced two more huge hits in “One Thing Leads to Another” and “Saved by Zero.” New bassist Dan K. Brown joined in 1983 and remains in the band to this day. Three more successful albums were released between 1984 and 1989, each containing at least one major hit song.
The Fixx continue to occasionally record and have released seven albums over the last 30 years. Touring has never stopped for these alternative icons, who most recently completed a 32-date run of the United States last year with a core lineup that has lasted over 40 years.
New Jersey rock / power pop band The Smithereens formed in 1980 with members Pat DiNizio (vocals and guitar), Jim Babjak (guitar and vocals), Mike Mesaros (bass guitar and vocals), and drummer Dennis Diken.
It took six years, however, to release their debut LP “Especially for You” which contained the massive MTV and college radio hits “Blood and Roses” and “Behind the Wall of Sleep.”
Their second album followed in 1988, “Green Thoughts,” which featured the hit “Only a Memory.” In 1989, the album “11” marked the end of their peak commercial era with the pop hit “A Girl Like You.” In the following 25 years or so, the band mostly released cover albums in tribute to their heroes The Beatles and The Who.
Singer (and sole songwriter) DiNizio tragically passed away in 2017, and a year later, The Smithereens decided to continue their legacy with Babjak, Diken and Mesaros touring with different guest vocalists, including Marshall Crenshaw, Robin Wilson of the Gin Blossoms, and more recently John Cowsill. Bassist Severo “The Thrilla” Jornacion typically performs with the band, with Mesaros only rejoining the band for select shows.
Expect an exciting evening of hits when The Fixx and The Smithereens perform their only greater Los Angeles area show on July 30 at The Belasco – tickets are now on sale!
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SID 260601 | TRACI TURNER | EDITOR [...]
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May 28, 2026UncategorizedLive at Sphere Las Vegas
May 28, 2026 Review by Christina Sanchez
Iconic. There is really no other word when NO DOUBT, one of the biggest bands in the world, performs at a one-of-a-kind venue in Las Vegas itself.
The Sphere is an immersive concert experience, completely unique from all other venues. It boasts the largest screen ever created, so vast in fact, a brand-new kind of camera, “The Big Sky,” was invented just to project the imagery for it.
Sphere houses more than 167,000 speakers, which equates to roughly 8.4 speakers per seat. Along with each seat being equipped with haptics, the sound experience is personalized for every concert or movie goer. As far as I can tell, there isn’t a bad seat in the entire venue.
The question many ask themselves is, “How did I get here?” For No Doubt fans, it is a memory that takes us back to a little place called Anaheim, California.
It was 1986 when a band formed that would change the musical landscape. Sure, “Tragic Kingdom” put them on the map, but for their fans – especially those riding the third wave of ska-punk – this band personified the OC music scene. Four decades later, Gwen Stefani, Tom Dumont, Tony Kanal, and Adrian Young are still onstage and skankin’ as if they were teens.
When I was just 17 years old, I drove to Atlanta to catch No Doubt live. Everyone was buzzing about the band as we entered the parking garage, and they were everything I dreamed it would be. It is truly wild to see the growth of “that ska band from OC with the girl singer” (who was often mistreated by “fans” just for being a woman), compared to now – where she is the first female-fronted band ever to headline a residency at The Sphere. These days she is treated like the absolute queen that she is and is receiving the respect she has earned and deserves.
When No Doubt announced their residency at Sphere, tickets went FAST. This was No Doubt’s first series of shows in 14 years, so it would sell quickly anyway, but at Sphere? The fans flipped out immediately and we have all been waiting to see how the band would use the incredible surroundings. Everyone with social media has seen the mind-blowing clips from U2, Eagles, and “The Wizard of Oz.” What would our OC friends put together?
The Venetian is next door to Sphere and allows fans to take a deep dive into No Doubt’s history thanks to the band and their partnership with VIBEE.
The Summit Showroom has an exceptional collection of over 500 pieces of band memorabilia, merchandise and accessories, and photo opportunities.
As doors opened for the showroom, it was a sea of fans dressed in plaid, flannel, and checkerboard prints that slowly migrating to the venue. The atmosphere was unreal; there were No Doubt logoed oranges that would fall from the ceiling and the background behind Young’s drumkit paid homage to their hometown.
The crowd was buzzing in anticipation of seeing these ska-punk juggernauts. As the show started, each band member came out and the crowd cheered them on, and as Stefani took her place, it was an eruption of joy that overtook the venue.
The stage production was truly electrifying, with breathtaking visuals, and the performance was divided into four sections, complete with outfit changes for Stefani with each group of songs.
The show also marked the 30th anniversary of their most popular album, “Tragic Kingdom.”
The show kicked off with a visual of Stefani – her blinged out hands complete with long, checkerboard fingernails – breaking through, holding a hole-filled orange from the “Tragic Kingdom” album cover.
They opened with “Tragic Kingdom,” “Excuse Me Mr.,” “Different People,” “Total Hare ’95,” and “Spiderwebs.” As you can imagine, the crowd went nuts over that one.
In addition to the kick-ass tunes, the elaborate videos had the crowd feeling as if we were flying through a tunnel featuring Stefani saying, “Vegas, you got your seatbelts on? Because I’m about to tell you a little story.” Her voice went on, “Once upon a time, in a land 254 miles away, where oranges grow on every tree, some kids found each other and began making some music in the shadow of the Tragic Kingdom. This is our story.”
No ska band would be complete with their horn and keys. No Doubt had two of the best on stage, Gabiral McNair and Stephen Bradley. Because ska is ska, this duo could bring it! Bottom line, the show was as nostalgic as it gets, and it worked! With the new innovations that only the Sphere can offer, it made classic songs seem new!
The hit parade continued with “Underneath It All,” “Hey Baby,” “Bathwater,” and we went to another level of insanity to “Ex-Girlfriend,” “Happy Now?,” and “Hella Good.”
Dumont – fresh off publicly announcing his early onset Parkinson’s diagnosis – looked as dapper as ever, giving off a definite “Paul Rudd” vibe, and sounded fantastic!
Behind the glass, Young was volcanic in every way possible – his banging on the drums was beyond mesmerizing, and that crazy red lipstick drew our attention.
Photo by Matt Sharkey
Kanal was incredible as he ran from side to side of the stage – he looked like a bee that took to flight; he was grace personified.
Stefani was so moved by the signs in the crowd, she would take time to acknowledge them and read them back to the crowd. But then the hit parade of their epic catalog continued with “The Climb,” “Running,” “It’s My Life,” “Simple Kind of Life,” and “Don’t Speak.”
Being ska royalty, Stefani was as advertised – authentic, displaying explosive energy; it was like watching an insane cardio experience all rolled into a concert. She delivered as an icon for all ages!
It is amazing how the saying “Time flies when you’re having fun” was absolutely true that night. It seemed as if the show had just started, and then we were in the final act. “Trapped in a Box,” “New,” “End It on This,” and then my personal favorite, “Just a Girl.” Being the class act that she is, Stefani invited concertgoers on stage to help her sing the song and take photos: what a moment that was – a moment those fans will never forget. To close it out, they went with another crowd favorite, “Sunday Morning.”
No Doubt at Sphere was a perfect night where memories were made, not just for the band and their fans, but as a collective of the music scene.
SHOW PHOTO GALLERY
by Christina Sanchez | @Tinytoyland
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SID 260527 | TRACI TURNER | EDITOR [...]
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May 27, 2026UncategorizedAdds DEVO and Susanna Hoffs to Tour
May 27th, 2026 by Traci Turner
Billy Idol is an amazing show alone, but the sneering rocker has added two more legends to his summer tour roster. DEVO and Susanna Hoffs will join the “Rebel Yell” singer on select dates of his It’s a Nice Day To… Tour Again! summer trek.
Idol has been on fire lately at shows, giving epic performances of “Hot in the City,” “White Wedding,” “Eyes Without a Face,” “Dancing with Myself,” “Cradle of Love,” and “Catch My Fall.”
These addition of DEVO and Hoffs will simply be icing on the cake!
The DEVO gents – Mark and Bob Mothersbaugh, Gerald Casale, Josh Hager, and Josh Freese – will support the August dates. They will bring the classic tunes we love, like “Whip It,” “Peek-A-Boo,” “Satisfaction,” “That’s Good,” “Jocko Homo,” “Girl U Want,” and “Freedom of Choice.”
Hoffs hops on for a string of September shows, bringing her solo material plus some hits from The Bangles era.
Some of her recent shows have even included covers from Prince, Simon & Garfunkel, The Rolling Stones, and The Beatles.
In addition to these shows, Idol has a five-show residency at the Fontainebleau in Las Vegas and will hop on some festivals – including Ohana on September 25th.
He is also busy collecting hardware – he received the Lifetime Achievement Award at the American Music Awards this past weekend and performed a medley of his hits.
Another incredible honor is ahead when he is inducted into the Rock and Roll Hall of Fame in November.
Grab your tickets Idol’s It’s a Nice Day To… Tour Again! now and see these legends in person!
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SID 260527 | JIMMY ALVAREZ | EDITOR [...]
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May 26, 2026UncategorizedMISSING PERSONS & TIFFANY
Set to Play at Garden Amp
May 26th, 2026 by Jimmy Alvarez
There’s a saying: Music is Life! So many people have heard it, but not all have lived it. Then again, if you lived through the decade of decadence, ‘80s bands were part of the soundtrack of your life.
Some of the biggest songs that came out of the era belong to two queens of the music industry, Dale Bozzio and Tiffany. The two ladies of the royal court of music will be joining forces to play one night at the Garden Amp.
Tiffany became the youngest female artist to top Billboard, selling over 15 million albums. She hit number one in the U.S. during that span and toured with New Kids on the Block. Billboard also ranked her album “The Color of Silence” as a top album in 2000. Her uber-hit “I Think We’re Alone Now” has been covered time and time again by some of the biggest names in the music biz.
As for the new wave super goddess, Bozzio has done it all. Her hits with Missing Persons literally define an era.
Epic hits, “Mental Hopscotch,” “I Like Boys,” “Walking in L.A.,” “Destination Unknown,” and “Words” dominated MTV new wave, and their synth sound literally created a pop-culture phenomenon.
Opening the show will be Pretty in Pink. They are the ultimate sonic experience that pays tribute to the legends: Psychedelic Furs!
Now you can see these two ladies and a crazy good flashback band all in one night at the Garden Amp. Get your day-glow everything together and get your tickets for a night of volcanic indulgence of sight and sound in Garden Grove.
Hats off to Garden Amp for the string of great shows they continue to deliver.
Tickets for this blast from the past that will take you back to the future are available now!
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SID 260525 | TRACI TURNER | EDITOR [...]
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May 25, 2026UncategorizedLive: The Rady Shell at Jacobs Park
May 25th, 2026 Review by Samuel Hill
YUNGBLUD’s performance at The Rady Shell in San Diego felt more like a revival gathering for the young, loud, bruised, and beautifully unfiltered than a typical rock concert. This event was part of his IDOLS World Tour, featuring The Warning as the supporting act.
The venue could have easily overwhelmed a less dynamic performer, however, the open-air environment heightened the drama. The San Diego skyline, the bay breeze, and the bowl-shaped stage provided a grand sense of scale while still preserving the intimacy that has always been at the heart of YUNGBLUD’s charm.
The Warning kicked off the night with a level of precision and urgency that transformed their set from a mere warm-up into a powerful statement.
The Mexican sister trio had a vast open-air stage to command before the headliner took the spotlight, and they made full use of every inch to deliver an impressive performance.
Their set infused the evening with a robust hard-rock vibe: tight riffs, a punchy rhythm section, and vocals that sliced through the outdoor soundscape.
What made The Warning particularly effective in this role was their directness; there was no wasted movement, no hint of playing it small as the support act. They embraced the contrast between polished musicianship and raw rock energy, offering the audience something heavier and sharper before YUNGBLUD unleashed his more theatrical punk-pop chaos. Dany, Pau, and Ale Villarreal Vélez showcased their serious musical talent. This band sounded like Muse and Placebo had a musical baby… and then that baby got into CrossFit
As an opening act, The Warning executed their role exceptionally well: they enhanced the atmosphere and made the audience more engaged than they initially found it. Their performance established the tone for the evening as a significant rock event of the generation rather than simply a platform for the headliner, and by the end of their set, they had undoubtedly captured the attention of fans who may have primarily attended for YUNGBLUD. For a brief opening act, it resonated with authentic authority. The crowd was especially drawn to “MORE,” “DISCIPLE,” “Kerosene,” and the closer, “Automatic Sun.”
From the outset, YUNGBLUD embraced the theatricality inherent in rock spectacle. The taped introduction of Black Sabbath’s “War Pigs” created a heavy, rebellious ambiance before YUNGBLUD launched into “Hello Heaven, Hello,” the sweeping opener from “IDOLS.”
This selection immediately elevated the concert to something more significant than just a series of hits. It was a statement of intent: dramatic, wounded, defiant, and expansive.
The setlist prominently featured tracks from “IDOLS,” including “Idols Pt. I,” “Lovesick Lullaby,” “Fire,” “Ghosts,” “Zombie,” and “I Need You (To Make The World Seem Fine),” while still providing room for older fan favorites such as “The Funeral,” “fleabag,” “Lowlife,” and “Loner.”
What makes YUNGBLUD compelling in a live performance is not technical perfection, although the band was cohesive and powerful throughout. His true strength resides in emotional intensity. He performs as if each song is being extracted from him in real time. On “The Funeral,” he transformed self-destruction into a collective chant, enabling the crowd to resonate with the darkness until it felt almost triumphant.
“fleabag” hit with a bratty, punk urgency, all sharp edges and infused with a snarl that would make Billy Idol proud. “Lowlife” emerged as one of the night’s most impactful moments because it encapsulated the contradiction at the core of his persona: part sneer, part confession, part invitation to anyone who has ever felt like an outsider pretending not to care.
The fresh material provided the night with its emotional backbone. “Lovesick Lullaby” and “Ghosts” illustrated how far YUNGBLUD has transcended mere pop-punk rebellion, venturing into a more cinematic and vulnerable realm. “Zombie,” one of the most impactful tracks from “IDOLS,” resonated with significant weight. In a live performance, the song’s sorrow became less refined and more relatable. Rather than slowing down the show, it enriched it. The audience reacted not with distraction but with focus, demonstrating that YUNGBLUD’s fans seek more than just chaos – they crave acknowledgment.
The most intriguing surprises emerged through the classic rock nods. “Changes,” his cover of Black Sabbath, was a clever choice, linking his theatrical vulnerability to a historical lineage of heavy music’s melancholy.
May 20th, 2026
The Aerosmith-inspired tracks “My Only Angel” and “Wild Woman” infused a glam-rock flair that surprisingly complemented the punkier elements. These instances hinted that YUNGBLUD is intentionally broadening his scope: he aims to be not just a voice for Gen Z’s alienation, but a rock frontman in a more traditional, expansive sense.
At times, the show’s unwavering sincerity approached the brink of excess. YUNGBLUD has never been one to hold back on performance, and those who are averse to grand gestures, impassioned speeches, heartfelt declarations, and an emotionally charged theatrical experience might find it all a bit too much. However, that very excess is what makes it impactful.
His finest tracks resonate because they reject any notion of cool detachment. He doesn’t invite the audience to admire him from afar; instead, he encourages them to dive headfirst into the emotional whirlwind.
By the show’s end, The Rady Shell felt as if it had been transformed from a sleek waterfront venue into a chaotic, euphoric haven. The performance was loud, sincere, at times extravagant, and utterly vibrant.
YUNGBLUD’s concert in San Diego demonstrated that his bond with fans is not a product of clever marketing. It is tangible, mutual, and deeply felt.
On May 20th, he delivered a show that perfectly captured what his audience sought: not an escape from emotions, but the freedom to experience everything at full volume.
SHOW PHOTO GALLERY
by Raven Kendall | @ravenkendallll (IG)
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May 21, 2026Uncategorized& FRIENDS
Live at House of Blues Anaheim
May 21st, 2026 Review by Samuel Hill
On May 15th, Poison the Well’s Peace in Place tour made a stop at House of Blues Anaheim, featuring four bands that, while sharing a general connection to hardcore, metalcore, and experimental heavy music, presented distinctly different approaches to aggression.
The lineup included The Barbarians of California, The Armed, Converge, and Poison the Well. What made this night truly captivating was not just the heaviness of the music, but how each band interpreted heaviness as a unique form of expression: communal, chaotic, artistic, and emotional.
The Barbarians of California took the stage first, facing the challenging task of energizing a crowd eager for well-known names. They did not perform like a typical support act. Their set was a powerful declaration of intent, characterized by driving riffs, intense shouted vocals, and a sharp punk-metal urgency that delivered the evening’s first significant impact.
Their raw presence was far from polished, which worked to their advantage. The sound they produced felt immediate, physical, and confrontational, serving as a reminder to the audience that the early bands should not be dismissed as mere background noise. By the conclusion of their performance, the pit had begun to loosen up, and the audience’s demeanor shifted from mere anticipation to active participation.
The enigmatic art collective from Detroit, The Armed, delivered the night’s most unpredictable performance. While The Barbarians of California relied on sheer force, The Armed embraced spectacle, disorientation, and speed. Their music has consistently thrived on the fine line between hardcore intensity and art-rock absurdity, and in a live setting, that tension became the focal point. Songs erupted in bursts rather than following tidy structures: drums pounding forward, guitars crashing into waves of noise, and vocals slicing through with a youthful, frantic urgency.
The band’s stage presence transformed the set into something resembling a controlled collapse rather than a typical rock performance. At times, it felt less like observing a band perform songs and more like being trapped in a system on the verge of overheating. Opening with “Dopamine Prophecy,” their electricity brought their catalog to life.
“Bomb to a Knife Fight,” “Bazooka,” “Vanilla Latte,” “Modern Fashion,” and “The Library” were standouts that had the crowd amped for the rest of the show.
That chaos could have easily turned into a gimmick, but The Armed infused it with intensity and intention. Their set generated a unique kind of audience energy, not just moshing, but also staring, laughing, shouting, and striving to keep pace.
They pushed the crowd’s expectations of what a hardcore-adjacent show should embody. Amidst a lineup of bands with formidable reputations, The Armed introduced an element of instability. They were the band most likely to split opinions, yet they added currency and relevance. “Kingbreaker,” “Homewrecker,” and “Liar” were highlights that kept the party going.
Next up was Converge, and the vibe shifted instantly. Few bands in the realm of extreme music possess such a profound sense of identity. Emerging in the 1990s, these gentlemen were the seasoned veterans of the lineup. Converge didn’t rely on theatrics; their power stemmed from precision, resilience, and emotional intensity.
From the very first notes of their performance with “Love Is Not Enough,” they resembled a machine forged from panic and discipline. The guitars were sharp and unforgiving, the drums felt almost impossibly rapid and precise, and Jacob Bannon’s chthonic scream provided the emotional core of the show. Even when the sound turned chaotic, it never came across as disorganized. Converge’s brutality is architectural: every breakdown has a purpose and evident in “Bad Faith,” Conduit,” and “Doom in Bloom.”
Converge’s performance was the most technically demanding of the evening. The band’s fusion of hardcore, metal, grind, and noise remains perilous because it refuses to conform to a single, recognizable genre. Songs surged, snapped, and vanished before the audience could fully absorb them. Yet, beneath the harshness lay an unusual clarity.
Converge’s music has always recognized that heaviness transcends mere volume or speed; it’s about condensing grief, rage, anxiety, and memory into something nearly unbearable. In a live setting, that compression was exhilarating. The audience reacted with an intensity that felt well-deserved rather than automatic. For many present, Converge were not just a supporting act; they were a major attraction. The crowd showed their love for the band as they closed with “Concubine.”
Poison the Well concluded the evening with a unique kind of intensity. While Converge embodied extremity through rupture, Poison the Well showcased heaviness as a form of catharsis. Chest-crushingly heavy but soaringly beautiful, Poison the Well deal in tension and release.
The band’s headlining performance carried the emotional gravity of a band whose impact has only become clearer over time. The music oscillated between melodic sorrow and explosive force, reminding the audience of Poison the Well’s pivotal role in defining the emotional language of contemporary metalcore.
From the fierce beauty of “Botchla” to the stark minimalism of “Ghostchant,” Poison the Well infuses grandeur into post-hardcore. Their show felt far from a mere relic or a nostalgic reunion; it was vibrant, physical, and profoundly connected to the audience.
What was most striking was the harmony between nostalgia and immediacy. For long-time fans, Poison the Well’s set was steeped in personal history: attendees sang along not just with enthusiasm, but with a sense of recognition.
These songs were intertwined with experiences of youth, heartbreak, anger, and identity. However, the band skillfully avoided sounding like they were stuck in the past. The heavier segments resonated with genuine weight, while the melodic parts maintained enough urgency to prevent them from ever seeming maudlin. Poison the Well’s work continues to resonate because it embraces contrast. The clean sections are significant because the eruptions are so intense; the breakdowns strike harder because the songs carry authentic emotional stakes.
As a headliner, Poison the Well also gave the night a sense of resolution. Following The Barbarians of California’s initial onslaught, The Armed’s chaotic disruption, and Converge’s precise ferocity, Poison the Well united the audience in a more collective experience. The pit was still lively, yet the emotional vibe transformed. Attendees were no longer merely responding to the riffs; they were rekindling their connection with songs that had resonated with them for years. This is the unique strength of a band like Poison the Well in 2026: they serve as both a foundational influence and a vibrant live performance.
The venue elevated the experience. House of Blues Anaheim is cozy enough for heavy music to feel visceral, particularly when the crowd is thick and involved. The sound wasn’t always pristine (shows of this intensity rarely are) but the rawness enhanced the ambiance rather than detracted from it.
The night carried the electrifying energy of a club performance while embodying the weight of a legacy event. Over the top reactions from the crowd were a result of “Zombies Are Good for Your Health,” “Everything Hurts,” “12/23/93,” “Ghostchant,” “Crystal Lake,” “Wax Mask,” and “Loved Ones.” As the crowd cheered on, they closed their set with, “Nerdy.”
Overall, the concert was a triumph because it showcased a variety of music rather than confining itself to a single heavy genre. Each band illustrated a unique aspect of the same expansive family tree. The Barbarians of California infused a sense of immediacy. The Armed introduced a sense of mutation. Converge displayed their mastery. Poison the Well offered an emotional release.
Collectively, they transformed the evening from a mere tour package into a comprehensive exploration of the evolution of hardcore and metalcore, highlighting their fractures and ongoing significance.
For enthusiasts of aggressive music, the May 15th show in Anaheim was far more than just loud. It served as a multi-dimensional, physical, and unforgettable reminder that true heaviness transcends mere sound; it is an experience.
SHOW PHOTO GALLERY
by Tim Markel Photography
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May 20, 2026UncategorizedAnnounces 2026 Tour
May 20th, 2026 by Joey Clark
It’s finally happening! Pinhead Gunpowder is returning to the stage after 16 years! The band has just announced their Bum Rush Tour slated for later this fall. It has long been rumored the guys would return for a proper tour ever since their 2024 release of “Unt.”
At that point in time frontman, Billie Joe Armstrong was in the middle of a world tour with Green Day, but it appears after some much deserved rest, he’s gunning to pack some clubs and return to his punk rock roots.
Pinhead Gunpowder had humble beginnings in Arcata, California during the winter of 1991 with Crimpshrine drummer and fanzine writer, Aaron Cometbus and Jon “Quitty” Quittner.
The band had recruited vocalist, Doug “Douggie Grime” Rogers and bassist David “Atlas” Kimmel to fill out the roster. In mere months, Cometbus decided he wanted to return to his hometown of Berkeley, California. He took the songs and band’s moniker with him.
The second iteration came shortly after Cometbus’ return to the Bay Area. For this next chapter in the band’s history The Skinflutes’ own Bill Schneider (bass) and Sarah Kirsch (guitar) joined the group with Armstrong rounding off the lineup as the frontman.
This version of the band lasted until 1994 when Kirsch decided to part ways and led the group to recruit, Jason White. White had been in Schneider’s band, Monsula since filling in last minute for a show in Little Rock, Arkansas (White’s hometown).
GARDEN AMP
Garden Grove, California
November 11th, 2026
Throughout the years the band has released nine extended plays, but “UNT “marks the band’s second full length record.
Notably most lyrics are written by Cometbus with exceptions woven throughout but he has always been at the helm of the project.
Thankfully, the stars have aligned amongst the four forces that comprise the band and Pinhead Gunpowder will be in for a big comeback.
Be sure to catch them when they hit the road as they will be stopping at our very own Garden Amp for the very last night of the tour.
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May 19, 2026UncategorizedLive at House of Blues Anaheim
May 20, 2026 Review by Jimmy Alvarez
Despite its very sleek and corporate-like facade, the House of Blues Anaheim would be transported into a punk-rockers paradise, at least for one night. It was a sold-out house, the line to get in was crazy long, but everyone was in such a good mood to see Pennywise and friends.
Doors were at 6:30, and it was like Warped Tour in the ‘90s. As soon as the crowd was let in, it was a mad dash for a front row position leaning against the barrier. The show would feature Pennywise, the friends I mention were legends in their own right, Circle Jerks, H2O, and DFL.
The crowd filled the venue, it was packed – they were squished in there, like sardines. Before the show started, the crowd was already singing along to the music blaring out the venue PA system.
L.A. – based DFL was the first to take the stage. In true punk rock tradition, the crowd went from calm to insane in 3 seconds. As “Crazy” Tom nestled behind the mic, the mayhem of the night began.
It was an abbreviated set, but they packed a punch. Delivering songs from their catalog, “Thought Control,” “No Exit,” “Paddy Wagon,” “Lost Cause,” “Pizza Man,” and the funniest song, “Fuck It.”
Dead Fucking Last closed out with “Proud to be DFL.” The crowd loved every single moment of their set.
After a very short intermission H2O was on before you knew it. Just like DFL, the crowd went from zero to 100 with their hair on fire in seconds. The punkers from New York called H2O was amped for this one. Toby Morse took no time to get the ball rolling with “Nothing to Prove,” “Everready,” and “Family Tree” to kick off their set.
The band was clearly excited to be sharing the stage that night with legends, you could just tell how excited they were. They killed with their delivery of “1995,” “Spirit of ’84,” and “I Know Why.”
It was about then you started to notice all the crowd surfers being deposited into the photo well. “One Life, One Chance,” “Guilty by Association,” and “5 Yr. Plan” made a very good impression on the capacity crowd.
By now, the crowd had to catch their breath, but they were resilient as Keith Morris and Circle Jerks were up next.
Morris slowly walked out and with that wicked smile he stared at the crowd and launched into the insanity that is Circle Jerks. “Deny Everything,” “Letterbomb,” and “In Your Eyes,” set the mood for their set.
Not shy about wearing his feelings on his sleeve, Morris and company took off, “Back Against the Wall,” “Behind the Door,” “I Just Want Some Skank,” “When Shit Hits the Fan,” and “Under the Gun” made the crowd get insanely wild.
With a wink Morris jumped on “Coup d’état,” “Moral Majority,” and “Live Fast Die Young.” The crowd went absolutely bananas! The hit parade continued, Circle Jerks could have played all night, but everyone knew Pennywise was on deck.
They closed out the set to an appreciative audience with “I, I & I,” “World Up My Ass,” “Wasted,” “Nervous Breakdown,” “Fix Me” and the closer – “Question Authority.”
Again, hats off to the road crew because the intermission was very short, and the Pennywise banner and gear were ready to go in minutes.
Out came guitarist and lead singer Jim Lindberg in his black T and hat, with guitarist Fletcher Dragge behind him also in black and a hat.
Also onstage were bassist, Randy Bradbury and Byron McMackin on the skins. I am always amazed how loud those guys can sound.
Immediately, the crowd was engulfed in punk rock shenanigans from jump street, “Wouldn’t It Be Nice,” “My Own Country,” “Violence Never Ending,” and “Same Old Story,” kicked off the first run of songs. The crowd got even more amped as each song started. By then I started seeing security pull people out of the crowd to get them water because it was so hot in that crowd due to the mosh pit that had formed.
Limberg thanked everyone for coming out and egged them on to get loud, and they did as they launched into more lunacy with “The World,” “Waiting,” “Unknown Road,” and we went into another stratosphere when the chords to “Fuck Authority” were heard over the PA.
As the show went on, a few other musicians that were there that night came on and off the stage to help out to a few tunes, “Perfect People,” “Broken,” “Society,” and “As Long as We Can” kept the crowd in a cartoon crazy mood.
It was the last three songs that blew the roof off the joint, “Alien,” “Stand by Me,” and “Bro Hymn” were a perfect way to close out a perfect night of punk rock music under the stars in Anaheim!
For fans, it was a night filled with epic performances by legends of punk!
SHOW PHOTO GALLERY
Photos by Green-Eyed Bonde Photography
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