Publication Date: January 10, 2026
OTHER GREAT STORIES
January 8, 2026UncategorizedLive at Viejas Arena
January 8th, 2026 Review by Amberlee Meyer
They need no introduction and no opening act. They were one of the most successful bands of the 1980s. Please give it up for Duran Duran!
Fans were plentiful for the San Diego show at Viejas Arena; if it wasn’t a sold-out show, it was very close to capacity!
VIEJAS ARENA
January 4th, 2026
San Diego, California
Excitement and nostalgia abounded; many fans were decked out in new and vintage tour merch, showing support and love for the band. The most prevalent imagery? The iconic Patrick Nagel design on the cover of the legendary 1982 “Rio” album. Their second release, it was their most successful and helped them gain worldwide recognition as the new wave band to see.
As people entered the arena and took their seats, a DJ spun tunes to get everyone in the mood to dance. Once showtime arrived, there was no opener and the band walked out to a mix of booming applause and deafening screams.
The Rock and Roll Hall of Famers remain led at the mic by Simon Le Bon, who will sometimes pull guitar duty.
Nick Rhodes remains the style icon behind the keyboards, and John Taylor continues to be the bass master, while Roger Taylor remains the beat behind the drums.
Opening the set with a video adaptation was “Velvet Newton” followed by the haunting “Night Boat.” The British gents followed that up with the massive hit “The Wild Boys” from the 1984 “Arena” days.
Up next was the theme song from James Bond – of course highlighted by an accompanying video – which led into their Bond song, “A View to a Kill.” Fans were singing along like no tomorrow on this one!
“Hungry Like the Wolf” had everyone out of their seats, phones in hand, recording this massive hit. Le Bon turned the mic to the crowd for the chorus, and they sang it loud and proud!
The hits just kept coming with “Union of the Snake” and “Notorious.” The crowd was overpowering Le Bon during the chorus and it was glorious to see that kind of fan participation! Throughout the night, video compositions were shown on the big screen, and the light display was more than enough to wow the audience.
Moving on to deeper cuts, “Friends of Mine” and “Careless Memories” off their first album showcased a more edgy, post-punk sound rather than the new wave hit paradigm that catapulted the band to super-stardom.
From there, they slowed it down with the ballads “Ordinary World” and “Come Undone,” both stellar songs perfectly placed in the set.
I always love a great cover song in a set. Duran Duran did not disappoint, adding a few covers into the mix with a rendition of ELO’s “Evil Woman.” The most interesting track was “Super Lonely Feak” from the 2023’s “Danse Macabre.” Part of the track is original in the best Duran Duran style, and then it goes into “Super Freak” by Rick James! Perhaps the cover they are best known for was also a hit with the crowd, “White Lines (Don’t Don’t Do It)” by Grandmaster Melle Mel.
As they introduced the band members, the audience went off again, hooting, hollering, and clapping furiously. Following member intros, the iconic “Planet Earth” appeared, followed by “The Reflex,” another massive hit for the band. Closing out the set was “Girls on Film” right into a cover of “Psycho Killer” by Talking Heads, which was absolutely stellar.
The much demanded encores included “Save a Prayer” and “Rio,” which seemed to leave the audience spellbound.
On point, well-rehearsed, and super tight. Duran Duran played hit after hit and were clearly ready to give the fans everything they wanted!
SHOW PHOTO GALLERY
by Highway One Photography
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January 7, 2026UncategorizedMERCY!
Coming to Grove of Anaheim
January 6th, 2026 by Joey Clark
ZZ Top’s frontman, Reverend Billy F. Gibbons is headed back on the road with The BFGs ready to serve up their patented brand of Texas blues to cities across the country.
During the tour, the band will be stopping off in SoCal at the Grove of Anaheim.
Gibbons’ passion for live performance is unmistakable as the long-bearded phenomenon is nearly always on the road; he’s already set to tour globally with ZZ Top less than a month after his tour with The BFGs wraps.
“Do it until you die,” is his response to the question of whether or not he would hang up his touring hat, a sentiment that’s been twice borrowed. Gibbons heard it from Keith Richards who took it from the late bluesman, Muddy Waters. Birds of a feather.
It’s no secret that the good Reverend has ran in circles with musicians of a high caliber and The BFGs are no exception. The BFG’s organist and backup vocalist, Mike “The Drifter” Flanigin is a master in the Texas blues scene in his own right, having collaborated with the likes of Jimmie Vaughn, Junior Wells, and of course Gibbons.
GROVE OF ANAHEIM
January 25th, 2025
Of course, I would be remiss to not mention the pedigree of Chris Layton, the trio’s drummer.
Layton was the drummer for Stevie Ray Vaughn in Double Trouble up until the legend’s death in 1990 and has been Kenny Wayne Shepherd’s drummer for nearly two decades.
If you’re looking for a Texas-sized blues fix, look no further than Billy F. Gibbons and The BFGs at the Grove of Anaheim on January 25th.
If you need a double dose, you can also catch the show in Solana Beach at Belly Up Tavern on January 23rd.
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January 5, 2026UncategorizedNEVER MIND
THE ANARCHY: HERE’S GARY NUMAN
North American Tour
January 5th, 2026 by Jimmy Alvarez
As we leave 2025 in our rearview mirror, an alt rock legend is coming back to North America this spring with more music to soothe our senses.
The year has started off with a bang, that’s not figuratively speaking, but the alternative to watching the news for things that go bump in the night is to take a deep breath and listen to great music so we can figure out which of our friends are electric.
For those not in the know, Numan is an ’80s legend. His followers live and scream for some of his most era-defining songs, “M.E.,” “She’s Got Claws,” “Change Your Mind,” “Metal,” “I Die, You Die,” “Cars,” and “Are Friends Electric.” Numan also recently announced the re-issue of “Telekon.”
His latest work, “Intruder” did very well with the faithful and Live is getting a thumbs up as well. Needless to say, his legion of fans have a lot to look forward to in 2026.
We have seen Numan of late at Cruel World Fest, and what a performance it was.
For this tour, he will be coming off his ’80s cruise when he will embark on a journey to take the country by storm.
He’ll kick off his tour March 7th in Fort Lauderdale and zig-zag across North America and wrap up in Southern California with two dates.
First on April 4th he will electrify us all at Pappy & Harriet’s. Then, on April 10th he will bring down the house at the Observatory in Santa Ana.
Get ready for this one, because if you’ve never seen Gary Numan live, this will be a show you won’t want to miss!
Tickets are on sale now!
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January 1, 2026UncategorizedWHERE IT ALL BEGAN TOUR
January 1st, 2025 by Bruce R Kilgour
Isla Vista, an unincorporated community in Santa Barbara County, is well-known for having a party atmosphere. Several musicians have called Isla Vista home over the last few decades, but perhaps the most famous are reggae-rock icons Iration.
The band recently announced their 34-city Where It All Began Summer Tour 2026, which will celebrate nearly 20 years of successful independent releases and touring.
The trek begins on May 6th at the Santa Fe Brewery (of course!) and features longtime kindred spirits Tribal Seeds as support on most dates. The band will perform at an interesting mix of cool outdoor pavilions, amphitheaters, and small halls across the US.
Lead singer Micah Pueschel recently described 2026 as a year for giving back, promising a brand new setlist and an enhanced production that will combine a high-energy spectacle with the intimacy of the band’s early days.
At least 22 states will be visited, and notable stops include New York City’s The Rooftop at Pier 17, two nights at Denver’s Cervantes Masterpiece Ballroom, and four tour-ending performances in California. San Diego’s Gallagher Square (June 25th), Pacific Amphitheatre in Costa Mesa (June 26th), and Avila Beach in San Luis Obispo (June 28th) are on the schedule, as well as a yet to be announced date on June 27th.
This North American outing will also serve as an introduction to Iration’s forthcoming ninth studio album, expected early next year. In 2025, the band previewed their new direction with a few singles such as “Roots,” featuring reggae-country artist Maoli, and “Say Goodnight,” a collaboration with the hip-hop duo Little Stranger. These songs are a preview of what Pueschel says will be their “best year yet.”
Iration has amassed over one billion streams to their name, all independent of any major label affiliation.
The band recently launched their new Irators VIP Fan Club, offering early ticket access and exclusive previews of the upcoming new album, as well as exclusive merchandise.
This ambitious summer tour shows that Iration remains a major force in the American reggae-rock scene that will celebrate nearly two decades of independent success.
Tickets for the California shows, including their highly anticipated Pacific Amphitheatre stop, are available now.
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December 30, 2025UncategorizedLive at House of Blues Anaheim
December 31st, 2025 Review by Amber Meyer
As I arrived to the House of Blues in Anaheim, hordes of Chiodos fans descended from the parking structure to catch the last show of the All’s Well That Ends Well tour – a 20-year commemoration of the album of the same name. Inside, the sold-out venue was jam-packed, filled with fans coming to pay homage to their favorite band.
Chiodos’ musical mélange? A creative blend of post-hardcore with metalcore, indie rock, emo, progressive rock, and a tiny dash of pop sensibility. Add in neoclassical elements, such as haunting piano interludes, their unique sound made them a standout in the post-hardcore scene in the mid-2000s. Much like AFI and Fall Out Boy, they rose to become darlings of the post-hardcore scene.
Chiodos hail from a small town in Michigan and started in the early 2000s as a high school band. Choosing the name The Chiodos Bros for a talent show – as a nod to the movie “Killer Klowns from Outer Space” – they later shortened it to Chiodos. Releasing three EPs, they played musical chairs with their lineup, but by the release of “All’s Well That Ends Well” in 2005, they had the lineup to make the epic body of work, which still stands as a rock-solid collection from that period in music.
The band followed up with “Bone Palace Parade” in 2007, and this would be the last album for vocalist Craig Owens and drummer Derrick Frost until their return to the band in 2012. But Frost left the band again in 2014.
Often compared to AFI, especially in Craig Owens’ vocals, musically they moved away from the goth-punk or deathcore AFI had been moving toward; Chiodos moved toward orchestral elements and more chaotic sounds.
This show brought out die-hard fans, 20-year veterans, and new fans alike. The dress code? Black. Please.
A short set from hardcore, screamo outfit Big Ass Truck opened the show. Unfortunately, Abel, the band’s lead singer, had lost his voice during the last days of the tour, so there was a last-minute lineup change, and their backing vocalist took Abel’s place.
After hearing their set, it’s easy to see how that could happen. Big Ass Truck was beatdown hardcore and metalcore to the nth degree! Some audience members were familiar with the band, but those who were not are sure to become fans!
Next up was Los Angeles’ Holywatr, who picked up the coveted slot for the last leg of the US tour. Started as a solo project by vocalist Holy in 2020, it quickly expanded into a trio.
Numetal, emo, and hardcore, fused with emotional, angelic vocals to guttural screams, showcased on the ballad “Fade,” and the gritty, energetic song “Burn the Witch.”
This band is a must-see! We can only anticipate that their prospects will be golden!
The fans’ excitement escalated as the stage was set for Chiodos. They opened with a darkly cloaked figure who seemed to be there to bless the stage, adding to the theatricality of the candles and the throne-like white chair already set up for Chiodos’ set.
With all band members dressed in black, vocalist Craig Owens, by contrast, was clad in white, as they took the stage and erupted into “All Nereids Beware” to open the set. The crowd went insane, and fans sang or shouted every lyric with vigor!
For many in the audience, no song title was needed other than a single riff to identify the next song in the set. If a song title was announced, fists immediately went up, stirring the crowd into a fury as Chiodos blasted through their set with fervor.
From “One Day Women Will All Become Monsters” to “We’re Gonna Have Us a Champagne Jam,” they were edgy, angular, inventive, and unapologetic.
From melodic melodies bursting into hardcore screams to breakneck tempo changes and double stops, enveloped in the insane vocal style of Owens, who moves effortlessly between melodic singing and hardcore screaming (“screamo”), Chiodos puts them in a class of their own.
As they went into “The Words ‘Best Friends’ Become Redefined,” the band’s versatility was showcased. It gave listeners a softer side of Chiodos while still maintaining all of the elements that make the band unique.
The final song on the album “To Trixie and Reptile, Thanks for Everything” boasts the band’s ability to play around with pop elements. The latter part of the set brought out songs from “Bones Palace Parade,” widely considered to be the band’s magnum opus.
Playing favorites like “The Undertaker’s Thirst for Revenge is Unquenchable. (The Final Battle)” and the symphonically sonic ballad “Two Birds Stoned at Once,”
Chiodos held the crowd’s attention and left them begging for more!
SHOW PHOTO GALLERY
by Highway One Photography
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December 29, 2025UncategorizedReturn for 3 Epic Shows
December 29th, 2025 by Kevin Gomez
For the past four years, punk legends T.S.O.L. have been playing a trio of shows in Southern California to kick off the new year. For a band that has undergone health issues the past few years (founding member Mike Roche was diagnosed last year with Parkinson’s disease and Brandon Reza has been filling in on bass since 2023), Jack Grisham and the boys refuse to throw in the towel and still tour frequently.
Fans were delighted to see the band announce they were continuing with their fifth year of January shows. Not only will they be playing three shows at three separate venues, they have a (mostly) different lineup each night. All shows will be all ages.
January 2nd, T.S.O.L. comes to The Regent in Downtown Los Angeles. Also playing is a band whose start surpasses even T.S.O.L., dating back to 1976. The Zeros first started in Chula Vista, a suburb of San Diego.
For their first show, The Germs – legends now in their own right – opened with their first performance ever. The punk rock band has broken up several times over the years but will be playing alongside The Pandoras, Roundeye, and River Rats.
Since 2022, when T.S.O.L. first started doing these January shows, they’ve always found a home at the Observatory in Santa Ana.
As they do every year, they will be taking over both rooms – the main room and the Constellation Room, the more intimate room inside.
Playing on the main stage will be Codefendants, who may have the best live show right now. Featuring Sam King of Get Dead and Ceshi Ramos, the duo will be bringing it on January 3rd. Roundeye will be supporting on the main stage, along with Loose Trucks. The Zeros will also be playing this show, headlining the Constellation Room, along with Whittier’s Knuckleheadz (who are fantastic live) and Noise Agents.
Finally, on January 4th, T.S.O.L. will close out the weekend at the Observatory North Park in San Diego. Codefendants will be playing double duty, hitting both Observatory venues and you will not want to miss their set.
Also supporting will be Agent 51 out of nearby Poway. The band got their start in the mid-1990s, riding on the wave of fellow Poway bands blink-182 and Unwritten Law, the band reunited in 2023 and are playing a slew of shows recently. Roundeye will be playing all three shows, including this stop along with Authentic Sellout.
Tickets for all three nights are available now.
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December 28, 2025UncategorizedHELP A CHOLO OUT
Louie Perez III Benefit Shows at Alex’s Bar
December 28th, 2025 by Kevin Gomez
For over three decades now, Manic Hispanic has been charming crowds with their parodied versions of punk rock songs with a Latino twist.
From songs like “Mas Chingones” (take on Bouncing Souls’ “True Believers”), “Naranjo” (their take on our current president based on Operation Ivy’s “Knowledge”), and “Rudy Cholo” (Rancid’s “Ruby Soho”), this supergroup has organically grown a large fanbase that has followed them since the early ‘90s and is now spawning new generations of fans.
Unfortunately, in the past few years the group has seen the loss of both original founding members, Mike “Gabby” Gaborno in 2017, and legendary bassist Steve Soto the following year.
Earlier this year the band announced that co-lead singer Louie Perez III would miss some shows as he was having surgery (in usual Manic fashion, the reason listed was something completely juvenile as Perez sought his privacy).
At their last show of the year earlier this month opening for Spike and the Gimme Gimmes, Perez said his farewell to the crowd following the last song of the night and said, “I’m going into the hospital Wednesday and if I don’t make it back, I f*cking love you.”
Fortunately, his surgery seemed to go well and was posting on his Instagram stories a few days later that he was going home. Unfortunately, as is the case with many musicians and overall Americans without insurance, Perez is facing significant healthcare bills. But fear not, his hermanos de armas have got his back and two shows in January were announced for Alex’s Bar.
January 23rd, the first of two nights is headlined by The Hidalgos, featuring father and son team of David Hidalgo (lead singer, guitarist and co-founding member of Los Lobos) and David Hidalgo, Jr (drummer for Social Distortion).
The night will also include Cadillac Hearse, which features the surviving members of Cadillac Tramps (formerly fronted by Gaborno before his passing) including Johnny “2 Bags” Wickersham of Social D, and Warren Renfron (current Manic Hispanic bassist). Also playing is Bongoloidz, the side project of Los Lobos percussionist Alfredo Ortiz, and Greg Antista and the Lonely Streets, who just crushed opening for Manic and the Gimmes.
Night two, January 24th, is really packed with a headlining set by Manic Hispanic and co-lead singer Efrem Schulz’s other band, Death by Stereo. Death by Stereo are legends of the Orange County hardcore scenes and will definitely get the crowd nice and amped.
Also playing will be current Manic Hispanic guitarist Elvis Cortez’s main band, Left Alone bringing ska-punk to the Long Beach crowd. Opening the night will be OC punk legends, The Grabbers.
Tickets are on sale now and all donations go directly to the Louie Perez fund. Sweet Relief Musicians Fund is a charitable organization “helping musicians and music industry workers in need.”
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December 23, 2025UncategorizedOi to the Punks
Celebrate 30 Years of the Christmas Formal
December 23rd, 2025 Review by Kevin Gomez
Who would have ever imagined that 30 years after The Vandals performed their Christmas holiday album at UC Irvine’s modest Crawford Hall, that not only would they still be performing their annual holiday concert, but it would more popular than it ever was before.
The Vandals celebrated yet another sold-out show at what has become their home, The House of Blues in Anaheim. To celebrate such a milestone, they brought a stacked lineup with them this year.
Kicking off the night was the fantastic new punk ensemble, 84 Days, fronted by Pennywise bassist Randy Bradbury on guitar and vocals. The band opened with “Mockingbird Brains,” the lead single off of their self-titled debut album.
Bradbury pointed out that famed producer-turned-bassist Cameron Webb messed up on the first song and Bradbury himself messed up on the next. He said that this was actually Webb’s first band and only 84 Days’ third performance ever. I guess we can cut them some slack.
The album was recorded with No Doubt’s Adrian Young, however for this tour fans were graced with Erik “Smelly” Sandin’s presence, famously of NOFX.
Smelly commented how grateful he was to be in the band, mostly because for 40 years he had to sit behind the drums and stare at Fat Mike’s ass, whereas “at least ass is somewhat in shape” drawing a huge laugh from the crowd.
You can definitely see influence from Pennywise as “Don’t Trust the Government” has the lyrics, “All the songs they were telling me… fuck authority.” “Hostage of the Game” saw a nice solo from Bradbury rocking a gold Gibson Les Paul as Smelly backed him on drums. They finished a strong set with “Smiling While We Drown” with Bradbury looking like the most fun he’s had playing in a while.
Good Riddance may very well have had the most intense set of the night. They wasted very little time with banter in between songs and instead squeezed out 16 songs in their 45-minute slot.
They opened with “Mother Superior” as lead singer Russ Rankin asked, “Who do you trust?” Drummer Sean Sellers and guitarist Luke Pabich blasted through “Weight of the World.”
If 84 Days got the crowd’s appetite whet for a mosh pit, Good Riddance made them famished. A nasty pit opened up for “Shadows of Defeat,” and the crowd kept up that same energy for “Last Believer.”
A fan threw a toy baby doll to bassist Chuck Platt, who took a selfie with it and jokingly named him “Kevin.” No offense taken.
Sellers got the crowd to clap their hands for the intro to “Fire Engine Red” before the band annihilated the crowd with “No More System to Believe In.” Platt had a nice heavy bass breakdown in “Wrong Again.”
Rankin belted out “I will wait for you,” really harmonizing for “Letters Home.” Platt called for a “massive circle pit” and the crowd delivered for “Half Measures.” For the band’s final song Sellers moved to the front of the stage and led the crowd in clapping along for “Pisces/Almost Home” before returning to his rightful place behind the drums; the band and crowd equally exploded into the rest of the song’s fiery finish.
As the lights turned low for the last time of the night, the PA began playing the overture from “Oi to the World!” before the curtains pulled apart revealing most of the band. The heavily-decorated stage included a Christmas tree with a light-up V atop, a giant light-up “30” sign,” and a light-up letter “V” with an M-16 hung in front, replicating The Vandals logo.
Drummer Josh Freese, his brother Jason Freese on keyboards, and bassist Joe Escalante began playing the instrumental “Dance of the Sugarplum Fairies.”
The crowd could hear Warren Fitzgerald playing guitar but he was nowhere to be seen. That is, until he broke out of the giant present on the left side of the stage.
Singer Dave Quackenbush graced the stage and they opened with “A Gun for Christmas” and then Quackenbush took a jab at himself by dedicating “Grandpa’s Last Xmas” to himself. “We played Ventura last night and that place sucks,” Quackenbush joked. “It’s called Ventura, so you think you’re going on an adventure.”
Escalante had his time to shine with lead vocals on “Here I Am Lord” before the last of the holiday set finished with “C-H-R-I-S-T-M-A-S.”
I feel like with the 30th anniversary they wanted to treat fans to some rarer gems and bust out three rarities in a row – “N.I.M.B.Y.,” “An Idea for a Movie,” and the elusive “Lady Killer.” “And Now We Dance” featured one of the best guitar solos from Fitzgerald as Freese absolutely blitzed through drums.
Escalante asked, “How about the Westminster Mall?” referring to the mall’s closure this past October. Quackenbush said, “This song’s called ‘Cafe 405’ and it’s about the Westminster Mall. RIP.” They brought their regular set to a conclusion with the popular “My Girlfriend’s Dead.”
For the encore Fitzgerald came back out alone with a white twin neck guitar and played “Hotel California,” up until the first chorus, and then came back with an acoustic guitar. He played “Hang Myself from the Tree.” The rest of the band joined Fitzgerald as he sadly told the crowd, “We can’t keep doing this every year.” Fortunately, he followed that up by saying, “I think we’ve only got maybe 70 more years, and that’s it!”
Fitzgerald serenaded the crowd with a fiery performance of Queen’s “Don’t Stop Me Now,” which saw him climb the Christmas tree on right side of stage, toppling over and almost losing him over the stage. Then Pennywise guitarist Fletcher Dragge came out holding a Christmas tree like a sword,
Fitzgerald jumped in his arms like a toddler, before Dragge unceremoniously dropped him on the stage. When the band finally restored order, they finished up as they do every year with “Oi to the World.”
It just doesn’t feel like Christmas until 1,500 people (including myself) have packed into the House of Blues and lose ourselves to this crazy punk rock holiday tradition. Fortunately, it sounds like The Vandals won’t be stopping any time soon. At least not for another 70 years.
SHOW PHOTO GALLERY
by Todd Markel Rock Images
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December 22, 2025UncategorizedINDUSTRY REPORT # 54
40th ANNIVERSARY CELEBARTION
A Conversation with Gonzo Greg & Stew Herrera
December 22nd, 2025 by Traci Turner
In 1986, a heavy metal rock station blasted onto the SoCal airwaves and helped launch the careers of some of the biggest names in the genre. Guns N’ Roses, Metallica, Bon Jovi, Pantera, Megadeth, White Zombie, and Poison became household names thanks to Pure Rock 105.5 KNAC.
But after just nine years – and a change in the musical landscape courtesy of grunge and alternative – KNAC went dark. The iconic station said goodbye in February 1995 with Metallica’s own James Hetfield and Lars Ulrich stopping by. The final song? Metallica’s “Fade to Black.”
While it may have seemed like a blip in time, KNAC’s impact was so great, they were inducted into the Rock Radio Hall of Fame in 2014 as one of the Legends of Rock Radio Stations. And thanks to that nifty internet, that day in February 1995 was not the last time we heard KNAC.
Now the station is gearing up to celebrate the 40th anniversary of its launch with a major party at the equally iconic Whisky a Go Go with Riki Rachtman hosting the January 8th event.
Two of KNAC’s legends – Gonzo Greg and Stew Herrera – chatted with us about the past, present, and future of Pure Rock KNAC.
Traci: Greg, I was looking at your radio history, and dude, how many times have you moved?
Greg: Oh, good Lord. I was telling somebody the other day, Las Vegas is the longest I’ve ever lived anywhere in my life. How many times? (runs through stations and states) So radio station moves, seven.
Stew: I’ve had two jobs. Greg has had 200 jobs.
Greg: See, my goal was to be on every station in the country. I just decided to do it one at a time rather than all at once!
Traci: As we reflect on 40 years since the launch of KNAC, what does the station mean to each of you?
Greg: Wow.
Stew: That’s a big one.
Greg: The crazy thing for me is I didn’t even belong there. The reason I ended up at KNAC was I was an intern at the rock and rhythm format that was on before it changed to pure rock. I was a punk rock alternative kid, and that’s why I wanted to work there. I was an intern, and they blew up the station I loved. It was this music that I loved. The day they changed, I’m wearing my Oingo Boingo sweatshirt, I’m standing there in the production room listening to this going, “Wow, I don’t know how I feel about this.” I came to love it, but in that moment, I was heartbroken when the format changed, to be honest. But I hung in there for a while, and eventually somebody didn’t show up for work, and I got to get on the air, and that’s when my career started.
Stew: That’s amazing. You know what? Looking back, you probably have come to this conclusion too, at least it was rock and roll music, of a kind, in English. When the format changed, it’s a slight adjustment to metal. It’s not like from metal to mariachi or a business news in Korean.
Greg: Yeah, I was able to survive. I remember our original music director, Michael Stephens, a Brit, and he came in to try to explain to me. He’s like, “Well, Gonzo, you’ve got to admit, it’s a more popular form of music. Iron Maiden is selling out Long Beach Arena right here.” He went into this whole explanation. I’m like, “Dude, I get it. I grew up on this music. I heard Iron Maiden and Judas Priest and stuff on the radio when I was in junior high school. It was when I moved to LA in 1978 that I fell into the punk rock thing. I’ll adapt. I can do this.” It turned out to be the funnest experience I had in radio.
Stew: When they flipped, I was still at college in Fullerton, and I was trying my hardest to get any job in radio, and I actually got a nibble down in Orange County. There was a station called K-Ocean, and they were a lighter version of KNX Light FM. The most metal song was probably “American Pie.” It was easy listening for housewives and stuff. I was trying so hard, and I got an interview with the program director and the owner of the station and bombed it. As soon as I walked in the room with my long hair and a leather vest – but it was a tasteful leather vest with a tie – and they started grilling me, it was immediately apparent. Even I could read the writing on that wall.
Stew went on: As I drove away, I thought to myself, I am going to get a job at KNAC somehow because I knew a guy who was at Avalon Attractions I went to college with, and his name was Don Wiener. In time, Don would become the promotion director at KNAC, but at that point, he was a buyer at Avalon. I said, “Don, do you know anybody at KNAC?” He said, “Yeah.” He put in touch with a girl named Veronica, who was in charge of the volunteer phone staff. I called her. She says, “Yeah, come on in. We could probably find a space for you.” I’ll never forget this. I love telling the story because it’s the only time this has ever happened. I sat down, she said hello. The first question she asked me was not, “What radio experience do you have” or “What this or what that?” She says, “Who are your favorite bands?” I knew I was in the right place right then.
Traci: Of all the bands that KNAC broke, and there were many, what are the ones that you hear on the radio now and you’re like, “Fuck, yeah, that was us.”
Stew: Well, there’s a lot of bands we broke, and then went away. (laughing)
Greg: (laughing) Right? Some of them didn’t stand the test of time so much.
Stew: But when I hear them on Spotify, I’m like, “Fuck, yeah!”
Greg: I appreciate the bands that, maybe we didn’t break, but we certainly were the first to really embrace them and play them as hardcore library bands. Iron Maiden, Judas Priest, and stuff like that, Motley Crue. We didn’t officially break them.
Stew: At all.
Greg: At all, but they’re still at it. I think we can claim Guns N’ Roses.
Traci: Oh, yeah, definitely.
Stew: Metallica is probably like Exhibit A or B for a band that… I mean, Metallica was going to happen, but we were integral to that process and it happening in Southern California. Then once it caught… You catch fire in the Bay Area, you catch fire in LA, it’s going gangbusters everywhere. We had a really close relationship with Metallica. If they came to town, it was a KNAC show. They would come to town. They came to KNAC. It was just love. It was a love fest.
Traci: And then on that day in 1995 when KNAC went off the air, the guys in Metallica were there to say goodbye. I mean, that says something about your station.
Stew: Yeah, it says it all.
KNAC40 | Celebrating 40 Years of Pure Rock
Traci: When I started to look back on things before I talked to you, I saw the sticker, and went, “God, that’s an iconic sticker.”
Greg: I was at KNAC, and during the Rock ‘N’ Rhythm days, and it was famous for its bright pink, handwritten KNAC Rock ‘N’ Rhythm logo, and that was pretty familiar around Southern California, at least around Long Beach, where the station would come in. We signed the station on with no logo or anything ready, and I remember when that logo came in and I looked at it and I went, “That’s it? Seriously?” (laughing)
Stew: (laughing) You didn’t think much of it?
Greg: I was not fond of it! Yeah, I thought it was crap. And it went on to be one of the most iconic logos in broadcasting history.
Stew: Like Mattel, like Post, like Ford. That is iconic. Still today, I love it.
Greg: You can see it from a mile away. You still see them. There’s this random phone booth out in the desert in the Mojave. Somebody sent me a picture. It’s like this phone booth on this dirt road in the middle of nowhere. There’s a KNAC sticker on it.
Stew: Oh, I love that. We’re going to be seeing more stickers soon, dude. Did I send you… Oh, yeah, I think I sent you the unboxing video last night, right?
Greg: Yes, I’ve seen that. So there’s some vintage stickers on the way, and there’ll be hopefully, new stickers happening soon as well.
Traci: The 40th anniversary party is hosted by some guy named Riki Rachtman. I guess he’s famous? (laughing)
Greg: Yeah, some MTV dude. I don’t know.
Stew: He was behind this monster.
Greg: A lot of people don’t know, and this is the reason Riki is going to be the ringmaster of this thing, is because he was actually, for a time, a KNAC DJ. He hosted a thing that he called “Radio Cathouse.” It was Saturday nights and Riki would come in and people would call him, just all his random Hollywood scensters, and they would just jump on the air, and it was just total freestyle, crazy Hollywood nonsense. Freestyle chaos. It was absolutely perfect for the time.
Traci: Riki will host the night, and then you’ve got live performances.
Greg: Yes, the Toxic Undershorts (a KNAC supergroup, if you will), of course, and Little Caesar, Love/Hate, and Once Bitten, which is a Great White legacy show honoring Jack Russell. But it’s not just a bunch of bands playing. We got people coming. Is it a social gathering? I think that’s what we’re thinking. There’s Q&A, and people are going to be telling stories like these.
Stew: It’s like half podcast, half performance.
Greg: Yeah, I think that that’s accurate. We got guys from Armored Saint coming. Wendy Dio is going to be there, which I think is outstanding. Taime Downe from Faster Pussycat will be there to tell some stories from the Sunset Strip back in the day, and hopefully we can coerce him and others like Jaime St. James from Black ‘N Blue to jump in and be part of this super dirty jam thing that we are trying to throw together. If anybody remembers any of the original KNAC anniversary parties, the jam was usually the craziest thing of the night. People would just randomly show up and go, “Hey, can I play?” We should be so lucky that that would happen for this one.
Stew: Yeah, and we’re still swinging for the fences, and we’re getting calls literally daily. I’m not at liberty to discuss the names that we are swinging for, but we’re trying to put together the biggest, the best, the brightest, and just to make it the night that everybody will remember and talk about and be so glad that they were there for.
Greg: It’s important to note there’s a charity underneath all of this, too, and that’s Rock Against MS. It’s a charity that’s been working hard to support those with MS and work towards cures and all that stuff. It is a charity event and everybody that’s doing this, is not getting paid.
Stew: Yeah, it’s doing it out of the kindness. It’s also, I think, relevant to bring up the fact that we’re not just looking back at 40 years ago at KNAC. We’re also celebrating the relaunch of KNAC. That is a thing that is happening.
Greg: It is happening currently, yeah. We’re able to bring KNAC as a radio station, albeit in the middle of the Mojave Desert. The call letters for KNAC now reside at 96.9 in Lynwood, which is essentially Barstow. If you ever remember making the trip from LA to Las Vegas and listening to any of the highway stations, KNAC is one of the highway stations now, on 96.9 in Barstow. It’s on 94.9 once you get out to Baker, and it comes in in Las Vegas at 99.7 on an HD3 channel.
Stew: Right. You can stream it from anywhere you want. Worldwide. And KNAC rockin’ Zzyxx Road!
Traci: Stew, you’re on KLOS?
Stew: It’s true. Yes. I don’t have a normal air shift at KLOS. I’m like the first or whatever second string. I’m in a studio producing stuff, and if anybody’s sick or takes a vacation, I’m usually the guy that steps in on weekdays.
Traci: Gonzo Greg, you’re in Vegas doing your thing.
Greg: Yeah, I’m in Vegas and taking care of of the new Pure Rock KNAC, as best we can, trying to get it up and running on, literally, a skeleton crew. We need to get to the point where we have DJs more or less live as close as we can get because that was the thing that made KNAC, the original… The DJs, we were what we were, but the thing was that we interacted with these maniac fans that were just so insane in love and crazy for the music and calling in and screaming and yelling and just that energy between the records. That is what made the station. That’s what will make, honestly, any radio station better is that you know that there are other people out there listening with you and you’re together, and it is a community.
Stew: That’s the whole premise of the whole thing. You’re right. I was thinking it’s the listeners and it’s the interaction between the host, the music, and the listeners. The triangle of quality. That’s the proposition for radio. You have to have the entertainment, the presenters, and the listeners. If you’re missing any of those three points, it falls apart.
Greg: That’s why, yes, Spotify is neat. I can listen to whatever I want, whenever I want, but it doesn’t have the vibe, doesn’t have that feeling and the energy and the passion and the connection. And that is what I would love to be able to bring back. Just got to make a couple nickels to make that happen. But if we can get anything close to it, it would be a thrill.
Stew: You have been… Dude, you’re a one-man show on this radio station, and I’ve told you before, my hat’s off to you. I can’t fathom the amount of work and all of the different angles that you have to consider to do what you have done, what you have pretty much single-handedly done. Just talk about a fucking achiever.
Greg: It’s pretty crazy. Things are starting to move and we’re starting to have some hosts that can interact and talk about the music. And hopefully we can bring back some loved features like “Manic Metal” and “Mandatory Metallica” and stuff like that, the stuff that people remember from KNAC. So that’s what we’re working on.
The rebirth of Pure Rock KNAC sounds like a nice plan in 2026 to me! Join Gonzo Greg, Stew, and a massive list of characters and surprises at KNAC’s 40th anniversary bash at the Whisky on January 8th! You can even preorder your merch when you get your tickets! Plus, there are some interesting things in store for you…
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SID 251221 | JIMMY ALVAREZ | EDITOR [...]
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December 21, 2025UncategorizedINDUSTRY REPORT # 54
Catching Up With
A Conversation with Eddie Casillas
December 21,2025 by Kevin Gomez
When you think about punk or ska music from Riverside, there’s one band – especially for me – that comes to mind more prominently than anyone else: Voodoo Glow Skulls. For over three and a half decades the ska-punk act has been proudly representing Riverside, the location of their earliest shows.
Their brand of ska-punk isn’t the lighthearted third wave that came out of Orange County, but rather, a harder, metal-inspired brand that came closer to what the Mighty Mighty Bosstones coined “ska-core.”
The band famously started up amongst the Casillas Brothers: Eddie on guitar as main songwriter, Jorge on bass, and Frank on vocals. Recently I spoke with Eddie about the history and future of Riverside ska-punk and what 2026 has in store for Voodoo.
You’ve no doubt heard about “60 Miles East,” the exhibit from Travis Barker and 98 posse showcasing Riverside’s punk, ska, and hardcore scene from the 1980s to early 2000s. As you might imagine, Voodoo Glow Skulls are heavily on display at the exhibit, which opened November 1st and runs through April 12th of next year.
Photos by Michael Olivas
Casillas told me the project started prior to Barker’s involvement when one of the curators, Zach Cordner of “The Riversider Magazine,” approached the band about their involvement with the art exhibit. “He and his partner stopped by my place and picked up some items that we donated for the exhibit,” Casillas explained.
Casillas toured the exhibit at the Riverside Art Museum during the opening reception and was blown away by the line of fans wrapped around the building. “I saw so many familiar faces, from other bands to fans from the early days,” Casillas said. “I recognized so many people just from seeing their faces at shows from back in the day.”
Voodoo has an entire wall dedicated to them at the museum featuring various artifacts from their storied career. Casillas described it to me, “We have a banner from the old backyard party days, so probably within our first couple years as a band.”
Casillas also donated one of his main guitars, a Fender Telecaster from the ‘90s, a former trombone from his studio, flyers, as well as some of the famous luchadora masks Frank used to wear.
Casillas said it was not only humbling, but surprising that they would be one of the main focuses for this project. As is the case with many older punk bands I’ve spoken with, you don’t realize at the time that 30 or 40 years later this thing would not only still be going, but be an important part of history. “I don’t think about the past so much, or any kind of legacy, and all of a sudden you go to this thing and I think we’re featured on every wall, in some way.”
I assured him that whether or not he realizes it, Voodoo Glow Skulls are a major part of the Riverside music scene, and the overall ska-punk movement.
We spoke about the punk scene in Riverside growing up and when the band first started. Casillas said he saw countless shows at Spanky’s Café, and although he saw several shows at the famous Showcase Theatre in Corona, “I think Voodoo only played there maybe once or twice.”
Spanky’s however, would be where they were exposed to so many punk, ska, and hardcore bands at an early age. “Spanky’s would be the O.G. one where we first saw local bands,”
Casillas continued. “And then eventually they would get more established bands and even international ska and hardcore bands.”
Recently the ska community has been abuzz about a recent post from Dicky Barrett who stated he is actively trying to get the Mighty Mighty Bosstones to reunite. Voodoo Glow Skulls have stated that the band was not only a huge influence, but the Bosstones actually took them on their first real tour.
“They caught wind of our first album (1993’s “Who Is, This Is?”),” Casillas said, “and invited us to play for a month on a leg of their tour in the Midwest.” For Voodoo, it was their first experience getting to see a touring band with a bus, a crew, and sold-out shows at theaters.
Speaking of bands reuniting, Eddie and Jorge’s brother Frank returned on lead vocals after a seven-year hiatus. During that time, Death by Stereo’s Efrem Schulz filled in on vocals and I asked how the transition was for Frank’s return. “As smooth as you get,” Casillas admitted.
For the band, it’s great to have their brother return, but on a far more personal level, Frank’s reunion meant so much more. The brothers’ mom passed away just a few months ago, and she got to see the brothers patch things up, “and I’m grateful for things like that,” he revealed.
For fans of the band’s last album, “Livin’ the Apocalypse,” the only one recorded with Schulz, Casillas gave us hope that we might yet see these songs played again live with Frank. “A lot of that record was worked on with Frank while he was still in the band.” He went on, “My brother doesn’t have any qualms with playing those songs from that album, so we hope to give that to the people live eventually.”
As for new music, their last record with Frank was 2012’s “Break the Spell.” But, Casillas is not in any rush to put out a new album with the state of music streaming these days.
He said, “I’m always writing,” Casillas said, “and we have about 20-30 songs right now but we just have to buckle down and finish it. But we’re still restructuring it and I want it to live up the last album, so we’re just going to wait until it’s ready and good enough.”
It’s refreshing to see a band utilize patience and caring about the quality of the music they’re putting out in place of making a quick buck. But, that kind of passion and dedication is why Voodoo Glow Skulls are still around and gaining new generations of fans.
While we wait for that next great record the band already has a handful of shows announced for 2026.
Locally, they’ll be playing with Mexico’s Inspector January 23rd at the Riverside Municipal Auditorium, and the following night they will head up the I-5 to play at The Vermont in Hollywood.
They’ll also be playing Less Than Jake’s Wake & Bake in Gainesville, March 13th and 14th.
No matter where Voodoo plays, they bring the thunder, check them out if you want to be electrified by living legends.
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SID 241220 | TRACI TURNER | EDITOR [...]
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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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SID 251218 | TRACI TURNER | EDITOR [...]
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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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SID 251217 | TRACI TURNER | EDITOR [...]
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