Publication Date August 3, 2026
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August 2, 2026UncategorizedTurns House of Blues Into an ’80s Reunion
August 2nd, 2026 Review by Shane Pase
There are nostalgia tours that feel like carefully packaged trips through the past, and then there are nights when the past simply walks into the room, orders a drink, and starts dancing beside you.
The Totally Tubular Festival landed at House of Blues Anaheim on July 23rd with seven bands, a few dozen beloved songs, and a crowd that clearly did not need much encouragement to turn the floor into an ’80s dance party. The bill featured Thomas Dolby and the Lost Toy People, A Flock of Seagulls, Bow Wow Wow, The Producers, Animotion, The Escape Club, and Tommy Tutone – a lineup that looked a lot like several hours of classic KROQ programming brought to life.
These kinds of festivals depend on momentum. Each band gets a relatively short window to make its case, play the songs people came to hear, and hand the energy off to the next act. There is no room for a slow build or a 20-minute drum solo. Hit the stage, plug in, get people moving, and get out.
Tommy Tutone understood the assignment.
Frontman Tommy Heath opened the evening with a loose, upbeat set that naturally worked its way toward the combination of seven digits everyone in the building already knew. When “867-5309/Jenny” finally arrived, the audience did not merely sing the chorus – they shouted the phone number back like they had been waiting 40 years for someone to ask.
That familiar number now has a much more meaningful purpose. Dialing 1-272-867-5309—the area code spelling out “CSC”—connects callers with the Cancer Support Community’s free national helpline. The program, supported by Heath and developed with the Cancer Support Community and its Gilda’s Club network, provides information, emotional support, and resource guidance from trained specialists to people affected by cancer.
It is a pretty rad second life for one of pop music’s most famous phone numbers. What began as something people scribbled on walls, called as a prank, and screamed during karaoke has become a direct line to someone who can actually help.
The Escape Club followed and immediately raised the pulse of the room. Their set was quick, bright, and loaded with personality. This was not a band standing stiffly behind microphones and hoping nostalgia would do the heavy lifting.
They worked the stage, played to the crowd, and brought enough energy to make their limited time feel like a full appearance rather than an abbreviated festival slot.
Naturally, “Wild, Wild West” was the big payoff. The song’s chant, groove, and oversized attitude were built for a room like this. As soon as it kicked in, people were bouncing, dancing, and shouting along. It was totally impossible to hear it live without remembering why it became such a defining late-’80s hit in the first place.
Animotion kept the momentum going and delivered one of the strongest sets of the night.
Astrid Plane and Bill Wadhams still know how to create tension onstage. Their chemistry has always been central to Animotion’s appeal, and it remains there in the glances, smiles, playful movements, and back-and-forth vocal delivery.
It is part performance, part flirtation, and part reminder that the best ’80s pop often came with a little drama baked into it.
When “Obsession” began, House of Blues turned into one large choir. The verses pulled people in, but the chorus belonged to the crowd. It was one of those moments when you could stop watching the stage for a few seconds and look around the room instead – friends singing at one another, couples dancing, strangers joining in – because everybody knew every word.
The Producers were next, and their set offered something slightly different. For anyone familiar mainly with “What’s He Got,” the band provided a quick introduction to the rest of its catalog. Several of the lesser-known songs landed immediately, driven by strong hooks and the kind of sharp power-pop construction that makes you wonder how more of them did not become major hits.
Of course, “What’s He Got” was the one longtime fans were waiting for. The opening notes drew an immediate response, and the band played it with enough bite and enthusiasm to keep it from feeling like an obligatory visit to the oldies bin. The crowd wanted the song, and The Producers delivered it without fuss.
Bow Wow Wow took the stage next, appearing on one of the select tour dates where the band was scheduled to fill the spot held by The Motels on most of the festival run. Anaheim was one of those dates, and Annabella Lwin made the alternate lineup feel like anything but a compromise.
She remains an endlessly animated performer, crossing the stage, engaging with the audience, dancing through the songs, and flashing a wide smile that made it clear she was having at least as much fun as anyone on the floor. Her energy was infectious without feeling forced. She did not perform at the audience as much as invite everyone into the set.
Bow Wow Wow’s mix of new wave, pop, percussion, and punk attitude gave the show an extra jolt. Lwin rarely stopped moving, and the crowd followed her lead. Totally fun, totally loose, and for sure one of the most entertaining sets of the evening.
A Flock of Seagulls was next, and for many people in the building – including this writer – the set carried a little extra weight.
Mike Score remains the unmistakable center of the band, both visually and musically, and his voice continues to fit these songs remarkably well. A Flock of Seagulls packed its set with the expected favorites while leaving enough space for fans who know the catalog beyond the biggest singles.
The band’s music has always sounded more substantial live than its image sometimes gets credit for. Beneath the synthesizers and unmistakable ’80s production are strong guitar lines, driving rhythms, and songs that can fill a room without depending entirely on nostalgia.
Drummer Kevin Rankin was especially fun to watch. He played with power throughout the set, hitting hard while maintaining a huge grin behind the kit. Some musicians project intense concentration. Rankin looked like a guy who could not believe he was allowed to have this much fun at work.
And yes, I am still waiting for “Committed” to appear in the set. Maybe someday, right Mike? Totally! For sure.
Thomas Dolby closed the show with the Lost Toy People, but his performance was not structured as a simple greatest-hits victory lap. He gave the audience “Europa and the Pirate Twins” and, of course, “She Blinded Me With Science,” while devoting a large portion of the set to his 1988 album “Aliens Ate My Buick.”
That album marked a sharp turn away from the sleek synth-pop most casual listeners associate with Dolby. Funk, jazz, brass, rhythm, and a wonderfully odd sense of humor moved to the front. For this tour, Dolby reunited with the Lost Toy People to revisit much of that material in a full-band setting.
Songs such as “The Key to Her Ferrari” and “My Brain Is Like a Sieve” gave the set a lively, unpredictable feel. Rather than using the band as decoration around keyboards and backing tracks, Dolby allowed the musicians and brass arrangements to drive the performance. The result was funkier, warmer, and considerably stranger than a standard synth-pop nostalgia set.
Dolby also pointed out that he was wearing the same suit he wore during the original “Aliens Ate My Buick” era. Checking online images from back in the day – and the way he still confidently carried it – confirmed that claim. Too cool!
By the time “She Blinded Me With Science” arrived, the audience had been dancing and singing for hours, but somehow still found another gear. It was the obvious song to end on, but obvious does not mean ineffective. Sometimes everyone simply wants to shout “Science!” together, and there is nothing wrong with that.
The most enjoyable part of the Totally Tubular Festival was how little separation there seemed to be between the people onstage and the people watching them. After their sets, members of several bands appeared around the venue, taking photos, talking with fans, and watching the other performers. They were not disappearing immediately into private dressing rooms or waiting vehicles. They were hanging out, dancing, and enjoying the same songs as everyone else.
That changed the entire character of the evening.
The more of these shows I cover, the less they feel like traditional concerts and the more they feel like reunions with old friends – even when most of those friends have never actually met. The artists know what these songs mean to the audience, and the audience seems genuinely grateful that the artists are still willing to come out and play them.
Nobody needed to pretend it was 1983 again. It was 2026, the crowd was older, the bands were older, and everyone was perfectly fine with that.
The songs still worked. The crowd still danced. The bands still looked like they were having fun.
And that, for one totally tubular night in Anaheim, was more than enough.
FESTIVAL PHOTO GALLERY
by Shane Pase Photography
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August 2, 2026UncategorizedLIVE AT
In-N-Out Burger Sound Space at KROQ
August 2nd, 2026 Review by Stuart Karpel
The setting of KROQ’s newly branded In-N-Out Sound Space made for a perfect hot-day matinee of the legendary band, Joyce Manor. As people enjoyed their In-N-Out burgers on a Monday afternoon, they lined the block around the building in anticipation of the show’s start – the excitement filling the air.
Once everyone got their wristbands at the check-in desk, they flooded the VIP lounge, grabbing coconut-flavored Dr Peppers on the way in. No matter what conversations were shared between friends and peers alike, the only shared thought on everybody’s mind was: “How soon will the show begin?”
As concertgoers were led into the studio, they raced to get as close to the stage as possible. It became unmistakable that in only a few moments of time, the whole room would be filled with the hometown band’s enduring punk spirit.
But before the music began, KROQ’s Megan Holiday and Kevin Ryder brought the core band members, Barry Johnson, Chase Knobbe, and Matt Ebert to the stage for a brief interview. While discussing their recent performance at the Vans Warped Tour in Long Beach and previewing their upcoming concert at the Kia Forum (January 23rd and 27th, 2027), super-fans were “wooo”-ing in response. It seemed as if they had already booked their tickets and packed their cars for the drive to Inglewood.
Holiday and Ryder then switched the topic of conversation to the trio’s latest album, “I Used to Go to This Bar,” asking what it had been like to work with Brett Gurewitz, co-founder of the sensational band Bad Religion as well as the current owner of Epitaph Records. Johnson immediately gave him his flowers as he said Gurewitz helped the band with almost every project for the past 14 years, so when it came to producing their newest album, the only thought was, “It should be like Manson… we went ‘Rancid-mode.’”
Then came the final question of the “True or False” portion of the interview: “You guys are gonna play in a minute, right?” Of course they answered, “True,” and from there, the band walked off stage for a short intermission, and it was showtime.
Starting with “I Know Where Mark Chen Lives,” “Falling in Love Again,” and “Beach Community,” the group effortlessly set the scene for the rest of the show with their incredibly catchy melodies and easily relatable lyricism.
It wasn’t long before a mosh pit formed near the stage, creating a shared momentum of intense vulnerability and catharsis. As the room filled with expressive-punk music, the venue transformed into a group of people free of anxiety, harmoniously headbanging to every beat of the drums.
Halfway through their performance, they slowed the pace down with “Big Lie,” put between quicker-tempo tracks like “NBTSA” and “The Jerk.” The emotionally charged lyrics, originally produced to support the arts in public schools, became the moment of the day where everybody in the room felt like all their problems were being heard.
Before the show concluded with a “thank you” to KROQ, they played some of their most popular songs: “Schley,” “Constant Headache,” and “Catalina Fight Song” of course. At one point during the finale, a fan crowdsurfed across a field of hands from the back of the mosh pit to the front of the stage, likely manifesting a story they’ll tell for years after.
Unlike a large concert hall, the intimacy of the KROQ Sound Space made every sound bounce off the walls, from laughter-filled conversations amongst long-lasting friendships to the intense guitar riffs that truly characterized the expectation of their melodic punk anthems.
The rockstar attitude of Barry Johnson pairs amazingly with the instruments of his modest yet incredibly talented peers, Knobbe and Ebert. They’re absolutely dominating the world of modern punk music so when you see their name on a marquee that’s held the biggest artists and athletes ever, there should be no doubt how great their performances are.
Their live sound is just as unique and powerful as their recorded music, so go get your tickets for their next show at the Forum ASAP!
SHOW PHOTO GALLERY
by @skylerbarberio
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July 31, 2026UncategorizedELECTRIFIES LONG BEACH
July 31st, 2026 Review by Kevin Gomez & Jimmy Alvarez
The Vans Warped Tour made its long-awaited return to the Shoreline Waterfront in Long Beach on sunny summer weekend, July 25th and July 26th. The weekend would prove to be hot, Africa hot, but not as it was about to get in the grounds. Before the masses made their way to the Warped Tour, festival organizer Kevin Lyman gave us media types a preview of the grounds and said a few words.
Despite the number of years he’s been doing, he has not lost his sense humor and wonder as to what can happen at the Warped Tour. He explained before media even got in the gates; the city of Long Beach had a power outage that had them scrambling. Luckily that emergency was short lived and he could breathe again.
Kevin Lyman | Warped Tour Founder
He went on to tell us stories and history of the event and how much blood, sweat and tears he and his partners and longtime employees put into making this event happen. He was also thankful to media for always coming out and telling the stories about the bands that make Warped Tour the event it is. Lyman also introduced us all to Steve Van Doren, son of the Vans co-founder.
Lyman marveled at the success and growth of the festival over the years. Then, after telling us about how important it is to try and make the event as affordable as possible, we saw a sea of concertgoers entering the grounds. They were held at bay for a few minutes before the inflatable with set times was about to be unveiled; it was an insane rush!
Winona Fighter kicked the festival off on the BeatBox stage Saturday. The band opened with “R U FAMOUS” immediately bringing energy to an early audience.
Frontwoman Coco Kinnon explained that they actually got upgraded to the larger stage and said she needed the fans to bring that same excitement as they nailed a high-energy cover of the Beastie Boys’ “Sabotage.” Before the set’s finale, Kinnon jumped down to the barricade and crowdsurfed.
Vana began her set on the main stage with “Pray,” which was a good showcase for her sound – soft, babydoll vocals amongst heavy metal that can easily change to screaming.
She played an untitled, unreleased song that saw a breakdown which had her drop to the floor and release some brutal vocals. It was barely noon and the kids were already moshing to the heavy music. Vana played the seductive “BEG!” and closed with “Clandestine.”
Yelawolf merged hip hop and rock and delivered “Catfish Billy.” With an inflatable trailer home onstage behind him, he asked the crowd, “Where’s the trailer parks in Long Beach? I want to be your neighbor.”
His band started playing a slow country tune that turned into Pantera’s “Walk,” starting a pit before his DJ played “Shimmy Shimmy Ya,” with Yelawolf rapping ODB’s lyrics over Marilyn Manson’s “Beautiful People.”
Back to the main stage where Hot Mulligan started with the hit, “How Do You Know It’s Not Armadillo Shells?” The band brought out one of the largest crowds thus far that afternoon. “And a Big Load” featured nice co-lead vocals from guitarist Chris Freeman. They played the forlorn love song “Featuring Mark Hoppus.” The biggest reaction from the crowd came at the set’s conclusion when they closed with their biggest song, “*Equip Sunglasses.*”
Saturday featured the triumphant return of Reel Big Fish, who had been on hiatus since early 2020. A massive crowd gathered as they opened with their iconic cover of “Take on Me,” immediately opening up a skanking pit.
They played a rarer gem in “She’s Famous Now.” Reel Big Fish surprised fans as Monique Powell joined them for “She Has a Girlfriend Now.”
They played their theme song, “Beer,” and closed with the song that started it all and made them radio sweethearts, “Sell Out,” as Wild Wing, the Anaheim Ducks mascot joined them onstage.
Jimmy Eat World announced that they were celebrating the 25th anniversary of their legendary “Bleed American” album by playing it in its entirety. The band brought it with a fiery opening of the title track followed by the “A Praise Chorus,” followed by the mega-hit, “The Middle.”
They played “Sweetness,” followed by the emotionally charged “Hear You Me” and “If You Don’t, Don’t,” which I’ve been waiting 25 years to hear live. After completing the album, they capped off their set with “Big Casino” and the sweltering “Pain.”
On the main stage fans eagerly sang along in unison with All Time Low’s Alex Gaskarth on “Weightless.” The band welcomed LØLØ – who performed earlier in the day – onstage to share a duet for “PMA.”
Flames lit up for the chorus of “Time-Bomb.” Toward the end of their set Gaskarth said, “Take care of each other in this fucking crazy world; in these very troubling and scary times, all we have is each other. Be good neighbors, take care of each other, look out for one another.” And with that they played “Dear Maria, Count Me In.”
The last band on the main stage Saturday, Simple Plan kicked off the end of the night with “I’d Do Anything” bringing the mosh pit to life. LØLØ made her third Warped appearance that day joining Simple Plan on “Jet Lag.”
The band played a medley of 2000s hits including “All Star,” “Sk8er Boi,” and “Mr. Brightside.” They played the “Scooby-Doo” theme as the Mystery Inc. characters joined them onstage. Derek DiScanio of State Champs joined the boys for “Where I Belong” before they ended with the viral “I’m Just a Kid” and “Perfect,” closing out a perfect day indeed.
On Sunday, Codefendants co-lead singer Sam King came out in a suit jacket with no shirt and an orange ski mask as the duo kicked off with “Def Cons,” backed by Venezuela’s Zeta. King dedicated “Suicide by Pigs” to L7’s Jennifer Finch, “a good friend of ours.” (Finch passed away from brain cancer on July 18th.) The band got the crowd and the pit going with the upbeat “Lonely Life,” going into “Abscessed” and closing with “Sell Me Youth.”
Back on the main stage, Haywire immediately jumped into “Hang up the Telephone,” starting carnage in the pit.
Singer Austin Sparkman spoke honestly about his struggles with addiction and announced he recently celebrated a year of sobriety. Sparkman dedicated “ALWAYS BY MY SIDE” to Jennifer Finch and Lou Koller of Sick of It All. (Koller passed away from cancer on July 24th.)
Back on the Off the Wall Stage Bayside came out with, “Sick, Sick, Sick.” The band and energy kept things going with “Duality” creating a singalong with the crowd.
Singer-guitarist Anthony Raneri said they were going to play a song off their latest album, which crowd usually dread, and yet “Go to Hell” was one of the best songs of their set. Overall, Bayside was one of the best sounding bands all day on any stage. They covered “Enter Sandman” before closing with “Devotion and Desire.”
Drain opened their set with singer Sammy Ciaramitaro stating, “For the last six years we’ve begun every show with the same song. Not today – we honor the hardcore legend Lou Koller,” and they played Sick of It All’s “Clobbering Time.” They were not through the first chorus of “Feel the Pressure” before Ciaramitaro was on the railing singing along with fans and eventually crowdsurfing.
For “FTS (KYS)” Ciaramitaro threw his corded mic into the crowd, still plugged in, and fans grabbed it and finished the lyrics. They played “Who’s Having Fun?” and closed with “California Cursed” leading to multiple pits, some of the brutalist of the entire day.
Warped Tour veterans MxPx played the Vans stage coming with “My Life Story” and “Tomorrow’s Another Day.” They played “Middlename,” the opening track from the iconic “Life in General.” Bassist and singer Mike Herrera dedicated “Secret Weapon” to all the fans who have supported them all these years, reminding them that they are in fact “their own secret weapon.”
Herrera’s bassline shined on “Chick Magnet,” a song supposedly about drummer Yuri Ruley. Mosh pits and crowdsurfers continued in full force as MxPx played “Responsibility,” which I distinctly remember seeing them play at my first Warped in 2000. They closed as they always do with “Punk Rawk Show,” this time dedicating it to Lou Koller.
Taking Back Sunday is on a bit of a resurgence lately, having reconnected with original guitarist/ vocalist John Nolan in 2010 and having guitarist/vocalist Fred Mascherino rejoin as a touring member last year. The three-part harmonies lead by vocalist Adam Lazzara really came together on songs like “Liar (It Takes One to Know One).”
They played their hearts out on one of the all-time greatest emo songs, “You’re So Last Summer.” “My Blue Heaven” featured beautiful backing vocals from Nolan and Mascherino.
They made sure to finish out strong with a trio of their most popular, “Timberwolves at New Jersey,” “Cute Without the E (Cut from the Team),” and the singalong “MakeDamnSure.”
One of my favorite sets of the weekend came from Third Eye Blind. They opened with the falsetto-led “Thanks a Lot.” The 60,000 punks in attendance sang in unison to “Never Let You Go,” really demonstrating the universal appeal of Third Eye Blind. They played “The Kids Are Coming,” which out of nowhere transitioned to a scorching rendition of “Wolf Like Me,” into “Graduate.”
Frontman Stephan Jenkins invited Yellowcard’s Ryan Key, who grabbed a guitar and led the band in “Ocean Avenue,” creating one of the best Warped Tour moments of 2026, which saw MGK in front of the stage singing every word. The band finished with one of the anthems of the late ‘90s, “Semi-Charmed Life.”
The Used played a passionate rendition of “Buried Myself Alive,” showcasing Bert McCracken’s screaming vocal range. They played “All That I’ve Got” before welcoming two fans on stage so the man could propose, and thankfully she said “yes.” McCracken introduced “Listening” by saying, “Free Palestine!” The band played “A Box Full of Sharp Objects,” and McCracken then thanked the fans for supporting them for the last 26 years. They played a brief cover of “Smells Like Teen Spirit” as red and white streamers covered the crowd.
Papa Roach closed out the main stage bringing their arena-style show complete with pyro. Lead man Jacoby Shaddix said Kevin Lyman called them back in 2000, offering them the third stage of Warped Tour and it changed the trajectory of their career. They brought out H2O’s Toby Morse to sing with them on “BRAINDEAD,” which Morse dedicated to the memory of Lou Koller.
They played what Shaddix called “the Nu-Metal Time Machine,” of “Between Angels and Insects” and a medley of “Blind,” “My Own Summer (Shove It),” “Break Stuff,” and “Chop Suey” before closing the weekend with their biggest hit, “Last Resort,” sending the crowd into absolute madness.
As Lyman has said repeatedly, the Vans Warped Tour was created not only to showcase established bands, but more importantly to expose fans to new and various genres of music. In that regard, in 2026 the Warped Tour continues to do just that. Creating a platform on one of the biggest festivals to introduce the next big bands to the world.
WARPED TOUR SLIDE SHOW
by Dark Room Rebellion Photography
Green-Eyed Blonde Photography
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July 30, 2026UncategorizedTurns the Kia Forum into a Sanctuary
July 30th, 2026 Review by Joey Clark
Every year the Kia Forum plays host to dozens of concerts from a wide array of artists, but it can be argued that after their July 18th performance, Evanescence is amongst the greatest to grace the legendary venue.
They gave us a glimpse last year at KROQ’s Almost Acoustic Christmas when the band closed out an epic night of music that also featured Papa Roach, Rise Against, and Social Distortion, and reaffirmed their status of being a formidable force in the rock scene, laying the foundation for what was to come in 2026.
Hot off the heels of their latest album release, “Sanctuary,” Evanescence took to the road for a 48-date world tour in support the record.
It would be a massive undertaking by the band from Little Rock, Arkansas, but with “Sanctuary” now belonging to the public, they had the upper hand. In no time at all, the buzz about the new record was plentiful. Not only was Evanescence’s core fanbase rampant with excitement, casual rock fans immediately jumped on board to witness this era of the band’s storied career.
On the night Evanescence was slated to return to the Kia Forum, it was easily apparent that their fanbase came to give support tenfold. Numerous fans showed up dressed to the nines, sporting their own twist on goth rock, some being heavily inspired by lead singer Amy Lee’s past iconic stage looks.
The house lights fell and the anticipation rose. Whispers resonated throughout the Kia Forum and cascaded back into the audience. A giant red display of the band’s iconic “E” logo carved through the darkness of the arena and only fed the intrigue shared by those in attendance. Soon the stage was flooded with thick, heavy fog, and the more fog that billowed out, the more screams of excitement filled the venue.
Shortly after, the band emerged from the fog and took complete control of the stage upon their arrival. Opening with the title track, “Sanctuary,” before launching into “Tell Me When You’ve Had Enough,” “Afterlife,” and the sweeping sensibility of “Rapture,” the band wasted little time introducing fans to the new era of Evanescence. The gamble paid off.
Rather than dampening the crowd’s enthusiasm, the new material was met with the same energy reserved for longtime staples, a testament to how seamlessly the songs fit alongside Evanescence’s long-established catalog.
The middle portion of the set showcased the true nature of “Sanctuary,” with “Self Destruct,” “Calm Down,” “Beautiful Lie,” and “Wasted on You” creating a well-crafted emotional journey that captivated audience members one by one.
One of the evening’s most memorable moments came during “Forever Without You,” as Skylar Grey joined Lee onstage for a hauntingly beautiful duet that put both singers’ complementary voices on full display. It was understated, elegant, and among the night’s most evocative performances.
Obviously, no Evanescence concert would be complete without revisiting the songs that first put them on the map worldwide. “Bring Me to Life” transformed the Forum into one massive choir, while “Imaginary” reminded fans just how timeless the band’s early songwriting remains. Instead of feeling like it was an obligation, these classics sounded revitalized, benefiting from years of musical growth and a band playing with complete confidence.
What followed perfectly encapsulated Evanescence’s current state and gave us a look at what’s on the horizon. “Better Without You” and “About Us” delivered the momentum before the collaborative performance of “Fight Like a Girl” became one of the night’s defining highlights.
Joined by Courtney LaPlante, Nova Twins, and K.Flay, the performance was explosive, and championed lead female vocals in heavy music. Rounding off the evening came the emotional weight of “My Immortal,” which provided an interesting contrast between the evening’s quietest and loudest moment, as thousands of fans sang every word before the band ultimately closed with “Wide Open Heart.”
To say Evanescence is experiencing a resurgence would be an understatement. It is more than evident that there is a renewed sense of love and appreciation for this incredible band from the rock community at large.
It goes without saying that the phenomenon is more than deserved based on the band’s ability to not only execute these songs in a studio environment but to perform them live with such passion and precision. I highly recommend catching Evanescence if they’re anywhere in a city near you. They will absolutely blow your mind.
SHOW PHOTO GALLERY
by Highway One Photography
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July 30, 2026UncategorizedBrings Tour Home
July 30th, 2026 by Traci Turner
Los Angeles-based alt rock band, Dogstar has expanded their upcoming North American tour, and SoCal will be blessed with multiple shows.
The trio of Keanu Reeves (bass), Robert Mailhouse (drums), and Bret Domrose (guitar, vocals) will kick off the tour August 1st in Austin, all in support of their newly released album, “All in Now.” Released May 29th, it follows 2023’s “Somewhere Between the Power Lines and Palm Trees,” their first new record in more than 20 years.
The All in Now tour now includes: September 25th in Ventura at Majestic Theatre; September 27th in Del Mar at The Sound; September 29th in Los Angeles at The Fonda Theatre; September 30th in Anaheim at House of Blues; and October 2nd in Pioneertown at Pappy + Harriet’s.
The Backfires will be along for the ride, lending support as the opener.
Dogstar put on an incredible show last year at the Regent – a tease of what was to come! The crowd went crazy for “Blonde,” “Dillon Street,” “Siren,” “Everything Turns Around,” “Breach,” and their amazing cover of The Cure’s “Just Like Heaven.” This is definitely a show you do not want to miss!
Tickets for this show are on sale now!
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July 29, 2026UncategorizedLive at Gallagher Square at Petco Park
July 29th, 2026 by Clara Amaris Becker
When I told my boss I needed to leave early because I was going to report on a band in San Diego, he asked me what band. When I replied with Rainbow Kitten Surprise, he gave me a look of pity that seemed to say “Really? Rainbow Kitten Surprise? Is this what Gen-Z is listening to?”
That was the start of my journey defending RKS to everyone over 35, explaining that if they actually listened to the band, they’d learn why they have such a dedicated fanbase, despite the name.
When I got to Gallagher Square, I saw that my boss was, in fact, correct: This is what Gen-Z is listening to. Walking through the gates, I was hit with the smell of sunscreen and weed, always a fantastic sign at an outdoor concert. The dress code among my peers split between bohemian – flowing skirts and babydoll dresses – and a soft-grunge look that I can only describe as 2014 Tumblr aesthetic.
Spacey Jane opened the evening with an 11-song set. The Australian band brought all the sunshine of their homeland with songs that simply felt like summer. Their stage presence was electric, particularly Ashton Hardman-Le Cornu (lead guitar), who vaulted clean over bassist Peppa Lane, sticking the landing as drummer, Kieran Lama, held the whole thing together.
The set closed with frontman Caleb Harper belting out the band’s breakout hit, “Booster Seat,” to a crowd that sang every word right back at him. To quote a friend from college who texted me from the Bones tour a week earlier: “Spacey Jane just finished, banger stuff.”
After a brief intermission, RKS took the stage and the audience erupted in applause and admiration. As lead vocalist Ela Melo sang out the opening verse of “Our Song,” the band’s energy took over Gallagher Square.
“Hide,” “Dang,” “Goodnight Chicago,” and crowd favorite “Cocaine Jesus” continued the set before rolling through “Stars,” “Lady Lie,” “All That and More (Sailboat),” “Drop Stop Roll,” “Never Have I Ever,” “When It Lands,” one of my personal favorites “Devil Like Me,” and “Cold Love.”
In 2013 Rainbow Kitten Surprise started in a dorm room at Appalachian State University, when Darrick “Bozzy” Keller and Ela Melo first began writing together. The band’s name comes from a friend who was recently discharged from the hospital, and it has grown into a fairly accurate representation of the band and their fans. Thirteen years and multiple platinum singles later, RKS has become one of alt-rock’s most uncategorizable live acts.
The bones tour lineup features four of the original members: Ela Melo (lead vocals), Darrick “Bozzy” Keller (guitar, vocals), Ethan Goodpaster (lead guitar, vocals), and Jess Haney (drums), rounded out on stage by Maddie Bouton on bass and Drew Long on keys.
I had secured a spot at the barricade and was met with a surprisingly enjoyable experience. This crowd was more interested in being immersed in the show rather than being seen at it. Nobody was trying to make the night about themselves or go viral by screaming lyrics off-key; people simply danced, sang with their friends, and relished the music.
The audience skewed younger and was evenly split on gender and like the band, had a strong queer presence that made the whole venue feel warm and inviting to all. The chemistry between Bouton and Melo carried the middle of the set, the two of them trading looks across the stage like they’d been playing together for years.
After the 13th song, the vibe shifted. Bouton and Long left the stage, leaving the four original members to gather around a single ribbon microphone for an acoustic run through “Black and White,” “Bare Bones,” and “First Class.”
It was intimate, pulling the whole audience back to the Appalachian State dorm room where RKS was first conceived.
Hearing the founding four sing together again felt less like a performance and more like watching old friends remember why they started this in the first place.
When “First Class” ended, the energy was revived by a surprise cover of The Killers’ “Mr. Brightside” (everyone screamed every word on this one) and into fan favorites “Painkillers,” “Counting Cards,” and “That’s My Shit,” before closing the set with “Run.” As the band walked off, a wave of disbelief rolled through the crowd.
They hadn’t played the band’s certified platinum viral hit: “It’s Called: Freefall.” The square erupted into chants for an encore, and after a few minutes, RKS obliged,
Melo reappearing in an orange sparkly coat, as if telling the fans: I only came back on for you guys.
They opened the encore with “Tropics” before finally giving the crowd what it wanted: “It’s Called: Freefall,” and Gallagher Square lost its mind right on cue, closing out a perfect night.
SHOW PHOTO GALLERY
by Highway One Photography
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July 28, 2026UncategorizedEMO Comes to Kia Forum
July 28th, 2026 by Kevin Gomez
We are barely halfway through the year and Joyce Manor is already having a career-defining 2026. Late last year/early this year the band started going viral in a comical way as the lyrics “sunken city by the ocean” from “Catalina Fight Song” was being misheard by young fans as a perverted act, which I cannot describe here.
It was the perfect way to introduce newer fans to an already-established talented band with a knack for righting catchy emotional songs set to a pop punk beat.
Photo by Dan Monick
Maybe it’s no mystery that I’ve been a fan since their first album, as Joyce Manor has listed Weezer as one of their biggest influences. Never afraid to wear their heart (tattoo) on their sleeve, the band resonated in the early 2010s with a lot of disillusioned and heartbroken teenagers (and this at the time 31-year-old). Much like Weezer, their debut album was self-titled and critically-acclaimed as an instant classic with no skippable songs.
They followed that up with “Of All Things I Will Soon Grow Tired” and the classic “Never Hungover Again.” Fifteen years since their first album and these three have really stood the test of time.
If they gained their first fans as a local dive bar and backyard party band, they have since established a solid fanbase as both the band and their fans matured into their 30s and 40s. They took what they learned from their first releases, coupled that with a refined musicianship and lyricism and in January released their seventh album, “I Used to Go to This Bar.”
This is probably the most critically-praised album since their self-titled debut. Even in January people were quoting this as a possible contender for album of the year (and in my books, might still be in the lead right now).
No one, possibly least of all the band themselves, expected an alt-country banger like “All My Friends Are So Depressed” or the title track, “I Used to Go to This Bar.” Lyrically and musically it really shows the growth this band has overcome over the years. To celebrate the release the band went on a national tour with Militarie Gun, Teen Mortgage and Combat to mostly sold-out shows.
Joyce Manor played Saturday at the Warped Tour Long Beach to a packed crowd who sang along to every word. Monday they stopped by the KROQ In n Out Sound Space Studios for an intimate 15-song performance. Yesterday the band posted a cryptic video from the dashboard of a car with the Kia Forum in the background.
They just announced they will indeed be playing the Kia Forum with Hot Mulligan, Tiger’s Jaw, and Origami Angel. If there’s anyone with as much buzz as Joyce Manor these past few years it’s Hot Mulligan who scorched at Warped this weekend (along with Origami Angel who also played). With indie emo legends Tiger’s Jaw, this is one lineup you will not want to miss.
Presale tickets available now with code: OPPOSUM. General on sale Friday, July 31st at 10:00 am PST.
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July 28, 2026UncategorizedNEW MUSIC FROM
July 28th, 2026 by Kevin Gomez
Premiere cover superband Spike & the Gimme Gimmes have a brand new track for us – and it will also do some good in the world.
Fresh off a four-night residency at the Kilowatt Bar in San Francisco – a hometown show for the Bay Area group – the band dropped the title of their forthcoming album, their first since 2024’s live album, “Blow it…at Madison’s Quinceañera!”
They also released the single and video for one of their most ambitious covers yet. With some help from a lot of their punk rock friends, The Gimmes are taking on “We Are the World,” the shmaltzy all-star charity song from 1985.
The Gimmes’ current lineup features none other than Spike Slawson (the one permanent member), CJ Ramone on bass, John “Swami” Reis and Jake Riley on guitar, and Andrew “Pinch” Pinching on drums. In the past their albums have ranged from all diva covers, country covers, and even show tunes.
The band announced their latest effort will be entitled “Spike and the Gimme Gimmes Shit the Bed.” Interesting enough, but as of right now, no word on what the overlying theme will be or even any other songs, except for the album’s lead single.
The song is currently available to preorder as a 7” with their cover of “Happy Birthday” as the B-side. “We Are the World” will feature guest vocals from Milo Aukerman of Descendents, Jim Lindberg of Pennywise, Tony Reflex of The Adolescents, Dani Miller of Surfbort, Dicky Barrett formerly of The Mighty Mighty Bosstones, and Efrem Schulz of Death by Stereo and Manic Hispanic, and many more.
On a serious note, much like the original song was for charity, so too will be this version. All proceeds from sales of the 7” single will go to Sweet Relief Musicians Fund. About as noble and close to the heart of the Gimmes as you can find, the organization is a “501(c)(3) non-profit helping musicians and music industry workers in need.” It’s time to help out those musicians in need – as Slawson put it, “They’re always considerate enough to say, “HOW’S EVERYBODY DOING?!” but do we ever think to ask how their evening is going?”
The single is available for preorder in solid gold color on Fat Wreck Chords’ website. At only $10 it’s a steal! Stay tuned to OC Music News for further details on the new Gimmes album, as well as their holiday shows, no doubt returning to Southern California in December.
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July 26, 2026UncategorizedReady for Spring 2027 Launch
July 26th, 2026 by Jimmy Alvarez
It’s been a minute since we last updated you about the biggest makeover coming to Orange County in recent memory. In all fairness, Disney is always working on remarkable updates to the happiest place on earth, but this story is not about that, it’s about OC Vibe!
With a number of milestones hit and more in the horizon along with the Olympics coming in 2028, we had an opportunity to take a tour of the grounds at OC Vibe!
To see where we are and where we’re headed, we got a look at the progress of the project courtesy of Eric Bresler, Senior Vice President of Entertainment at OC VIBE. We started the tour at the Anaheim Regional Transportation Intermodal Center, better known as “The ARTIC.”
For context, OC Vibe is situated in the Platinum Triangle of Anaheim. The investment to make this dream a reality is estimated at 4,000,000,000, and yes… that wasn’t a typo: That’s four billion dollars!
A majority of the development is privately funded by Henry Samueli, owner of the Anaheim Ducks. Throw in about $ 400 million in supplementary bonds provided courtesy of the City of Anaheim. Needless to say, local businesses and the city are vested in making this dream work.
Ground broke in 2023 on the 100-acre project that will see new residents, parks, hotels, restaurants, and add a facelift to Honda Center and a new state of the start music venue and this will add to why SoCal is a tourist destination. The strides we witnessed on site are simply amazing. A good number of the first wave structures will be ready to launch optimistically in March 2027… well, that’s the optimistic target – but officially, it’s scheduled for a Spring 2027 opening.
The grand opening will include the Katella Commons, five restaurants, a sprawling urban park, and the aforementioned 5,000 seat capacity music venue.
The venue is not named just yet, for now it’s the OC Vibe Music Hall – but in the meantime, the arena has all the whistles and bells music fans and artists alike would want if they could wave a magic wand and build a kick-ass music hub. To accommodate the new digs, add two newly constructed parking structures.
The multi-level venue has amazing views of the stage and what surrounds the structure. And for the bands, it has everything a touring band could wish for.
It has everything from roll-up loading docks, spacious dressing rooms, an outdoor staging area, built in laundry and showers, and the sound and visual systems will be top of the line. And if you’re keeping track, nine bars!
In 2028 get ready for the revival of the Golden Bear nightclub, a hotel, two parks and a pedestrian bridge from The ARTIC to the Honda Center.
In the later part of the decade, sometime in 2029 – 2030 expect the launch of apartments, a second hotel, outdoor greenery space and a third parking structure.
No matter how you slice this or dice it, the area will simply be amazing and just another place for everyone to enjoy, tourist and the locals.
Anyone coming to Anaheim can see professional sports (MLB Angels and NHL Ducks) with regular NCAA basketball tournaments. You can also experience daily fine dining, and right down the street you can stroll on down to the House the Mouse built.
It is also notable that you are within a reasonable drive, if it floats your boat, there’s Commerce Casino, Yamaava’ and a host of other Southern California attractions.
No matter who you are, this dreamscape project only adds to why SoCal is the ultimate tourist destination and the new heart of Orange County.
For music fans, we can’t wait to see who will play the launch of this music venue, stay tuned for more details as they become available.
OC VIBE TOUR SLIDESHOW
by Green-Eyed Blonde Photography
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July 26, 2026UncategorizedLive at Kia Forum
July 26th, 2026 by Joey Clark
On July 17th, the Kia Forum in Inglewood became a celebration of SoCal-based alternative music as Young the Giant and Cold War Kids paired up for a powerful, deeply moving billing.
What could have easily felt like an average arena stop on the Victory Garden tour instead played out like a transcendent homecoming party for thousands of diehard fans of the groups.
Claiming the stage as their own, Cold War Kids delivered a masterclass in stripped-back, evocative performance. The band with Long Beach origins wasted no time and launched into their first song; the notable bassline of “So Tied Up” echoed throughout the Forum and was met with thunderous applause.
Frontman Nathan Willett’s distinct raw, somewhat bluesy voice cut through the mix over the wave of sound the band created. Alongside him, bassist Matt Maust was a whirlwind of motion, providing a plethora of low end, stalking the stage, and connecting with the audience in his line of sight.
What makes Cold War Kids such a memorable live act after 20 years is their unique ability to make a large venue still feel intimate. During numbers like “Can We Hang On?” and the beloved throwback track “Hospital Beds,” Willett frequently sent chills through the crowd with the contrast of his voice. His hard rock inspired vocals packed a punch and drew the crowd in during the softer moments, which easily transformed the crowd of 17,000 into a singalong.
Some emotional high points of their set arrived with “Love Is Mystical” and “Miracle Mile.” These tracks are deeply tied to Los Angeles lore, and it was obvious these tracks grabbed locals in the audience. As soon as they launched into their massive 2014 hit, “First,” the arena was instantly on its feet, shouting every word back to the stage at the top of their lungs. It was a reminder of why Cold War Kids remain a staple in the modern indie rock scene.
While Cold War Kids’ set was defined by their focus on performance paired with a no-frills production, Young the Giant’s production was a breathtaking visual feast for the senses. Supporting their sixth studio album, “Victory Garden,” the Irvine-based five piece turned the massive stage into an immersive living garden.
As the house lights dimmed, towering, colorful inflatable flowers expanded across elevated platforms while a cloud of fog rolled across the floor.
Frontman Sameer Gadhia charged the stage with magnetic charisma. As the band opened with the first song off “Victory Garden,” “Evergreen,” Gadhia’s vocal range was on full display, effortlessly shifting from his classic baritone into flawless falsetto. Guitarists Eric Cannata and Jacob Tilley, alongside bassist Payam Doostzadeh and drummer Francois Comtois, provided a solid foundation for Gadhia to soar to great heights.
Young the Giant’s setlist seamlessly integrated their 15-year catalog with new cuts. Early hits like “Apartment” and “Silvertongue” inspired enthusiastic shouts, with Gadhia gliding across the stage and showing off his undeniable ability to command a stage.
One of the night’s absolute standout moments came during “Superposition.” Mid-song, the band seamlessly interpolated a verse of The Beatles’ “Blackbird,” shedding the arena spectacle for a stripped-back moment that brought an extraordinary hush over the crowd. Hearing thousands of voices softly harmonizing together inside the Forum was nothing short of spine-tingling.
Gadhia took a bit of time to address the crowd and reflect on the band’s humble beginnings throughout Southern California, expressing genuine gratitude for reaching the milestone of headlining the iconic Kia Forum. That sincerity carried throughout every song.
To wrap up the evening, the band delivered a final knockout punch. “Cough Syrup,” the song that launched them into the cultural zeitgeist over a decade ago, felt as urgent and cathartic as ever.
Life’s too short to even care at all, I’m losing my mind, losing my mind, losing control.
YOUNG THE GIANT
They closed the night with “Mind Over Matter” and it felt like the closing song to a beloved TV show. The song by nature is light, airy and finite in its emotion, setting it up to be the perfect closing track for the evening.
Concerts at the Kia Forum often carry an unmistakable weight and gravitas, but July 17th hit different. It was a night that celebrated the Southern California indie rock scene. Cold War Kids brought soul and raw rock energy, while Young the Giant delivered an ambitious, visually stunning arena show that delivered on all fronts.
Together, they proved that far from merely riding nostalgia for the mid 2000s, both bands are still producing vital music and performing at their absolute best. It was an unforgettable night, and a fitting tribute to the scene that nurtured them all these years.
SHOW PHOTO GALLERY
by Highway One Photography
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July 24, 2026UncategorizedLive at North Island Credit Union Amp
July 24th, 2026 Review by Greg Vitalich
Female-fronted rock was on full display as Evanescence brought one of the year’s most exciting tour packages to Chula Vista. From the hard rock hip hop vibe of Nova Twins to the modern metal of Spiritbox, and finally the gothic and elegant grandeur of headliner Evanescence, each band offered its own unique style while sharing one common thread—an incredible frontwoman who completely owned the stage.
Amy Love, Courtney LaPlante, and Amy Lee each delivered confidence, charisma, and remarkable vocal performances, making the evening feel like both a celebration of modern rock and a showcase of three of its most dynamic female performers.
On a beautiful summer night at the North Island Credit Union Amphitheater in Chula Vista, the first act was the young British rock duo Nova Twins, who proved they were far more than just an opening act—they kicked off the night with the kind of explosive performance that immediately energized the crowd.
From the moment lead singer and guitarist Amy Love and bassist/vocalist Georgia South walked on stage, their confidence and chemistry were on full display. Nova Twins has a blend of alternative rock, punk, hip hop, grime, and electronic influences created a sound that was both unique and incredibly heavy without relying on traditional formulas. Love and South had great stage presence, rarely standing still, constantly moving from one side of the stage to the other while encouraging the audience to clap, jump, and sing along. The entertaining performance certainly produced many new fans.
Spiritbox delivered one of the most powerful opening performances I’ve seen in years, proving exactly why they’ve become one of modern metal’s fastest-rising band. The Canadian quartet put on an amazing performance that was beautiful, atmospheric, and absolutely devastating hardcore.
Singer Courtney LaPlante was mesmerizing. One minute she sang haunting crystal-clear melodies and the next she unleashed thunderous death metal screams that shook the entire amphitheater.
The highlight of the set was launching into “Tsunami Sea” while thousands of tiny white “snowflakes” whirled out from machines, transforming the stage into a surreal snow globe. The stunning visual effect combined with LaPlante’s soaring vocals was simply breathtaking.
More than 20 years after redefining modern hard rock with a debut album selling over 17 million copies worldwide, Evanescence remains one of rock’s most captivating live acts. Touring in support of their latest album, “Sanctuary,” the band delivered a two-hour performance that blended cinematic grandeur, crushing guitars, emotional vulnerability, and flawless musicianship. Led by the incomparable Amy Lee, Evanescence transformed the venue into a cathedral of light, sound, and emotion.
The current lineup was incredible. Amy Lee was, of course, the heart and soul of the band, but every member brought something special. Guitarists Tim McCord and Troy McLawhorn crushed it with massive walls of sound, an animated Emma Anzai’s bass rumbled through with low-end power, and Will Hunt’s lanky arms bashed the drums in an animated style all night.
Amy was phenomenal. Her distinctive voice was powerful from the start, balancing delicate whispers and booming operatic highs that delivered both clarity and power. Whether she was running around the stage on heavy songs or sitting behind her grand piano, Amy’s balanced singing and stage performance mesmerized the audience all night.
The set list leaned heavily on tracks from the new album Sanctuary. The title track was a great opener, dramatically setting the mood with a slow dreamy intro building to a crescendo of booming guitar riffs and Lee raging.
I believe 11 other tracks off the new album were in the set. My favorite tune off the new album was the second song of the night, the heavy ass kicker “Tell Me When You’ve Had Enough” – hard driving beat, solid riff, catchy melody.
Another memorable moment was Lee’s powerful words of encouragement prior to the new song “Forever Without You.” Sitting behind the piano, Lee said, “If anything I say in this song … resonates with you … or if you are there now, let me just say this … as terrifying and impossible as it may seem to take that first step out the door of a bad situation, I promise it is infinitely better on the other side.” The crowd clearly appreciated Lee’s honest and heartfelt words of encouragement and empowerment.
Of course, all the big hits were included for long time fans; “Going Under”, “Call Me When You’re Sober”, “Bring Me to Life”, with encores “My Immortal” along with “Who Will You Follow” and “Wide Open Heart”.
Another fun highlight was when Amy invited Courtney from Spiritbox and Amy and Georgia from Nova Twins came back on stage to join her on the girl power track “Fight Like a Girl”. What a delight to see all female lead singers on stage singing in unison, smiling and having so much fun with the performance.
The night had it all; a mix of three incredible female fronted rock acts, one up and coming, one established and gaining popularity, and the headliner proving why they remain one of the top hard rock acts this century. Evanescence successfully balanced beloved classics with ambitious new material to prove they aren’t relying just on nostalgic hits. For longtime fans and newcomers alike, the 2026 Sanctuary Tour stands as one of the year’s most unforgettable live rock experiences.
SHOW PHOTO GALLERY
by Greg Vitalich Photography
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July 23, 2026UncategorizedINDUSTRY REPORT # 69
CATCHING UP WITH
Glenn Tilbrook
July 23rd, 2026 by Traci Turner
Earlier this year, English rockers Squeeze delivered a 50-year-old album. Well, sort of. “Trixies,” a previously shelved concept album from Glenn Tilbrook and Chris Difford’s teenage years – before they were known to us as Squeeze – was “a lifetime in the making.”
While the material may be decades “old,” the album sounds as fresh as can be, but still like the Squeeze we love.
Now that we have had “Trixies” for a minute, the gents from across the pond are headed to our shores for the Tried, Tested and Trixies Tour. Kicking off in Nashville on August 16th, Squeeze – who are amazing on their own – are bringing two other ‘80s favorites along – Adam Ant and Haircut 100!
The trek travels through the South, up the East Coast, then stops in SoCal September 19th at the legendary Hollywood Bowl (this show features The English Beat rather than Haircut 100). Leon Tilbrook, son of Glenn Tilbrook, is also on the bill for all shows (in addition to playing as a member of Squeeze).
Of course they will share tracks from “Trixies;” my personal favorites include the energetic “Hell on Earth,” the sleazy guitar rock of “Don’t Go Out in the Dark,” and the absolute Squeeze-sounding “Why Don’t You.”
But we can expect our favorite Squeeze tunes too, such as “Black Coffee in Bed,” “Pulling Mussels,” “If I Didn’t Love You,” “Is That Love,” “Goodbye Girl,” “Tempted,” “Cool for Cats,” “Take Me I’m Yours,” and “Annie Get Your Gun.”
I have made no secret of my admiration of the band to anyone who will listen. Founders Tilbrook (lead vocals and guitar) and Difford (vocals and guitar), Stephen Large (keyboards), Simon Hanson (drums, percussion), Steve Smith (percussion), Melvin Duffy (pedal and lap steel guitars), Owen Biddle (bass), Danica Dora (keyboards), and Leon Tilbrook (guitar), are in sync, precise, refined, and extremely talented musicians. Plus, they are snappy dressers!
Photo by Dean Chalkley
We last spoke with Glenn Tilbrook before “Trixies” was completed, so we figured it was time to catch up!
Traci: Glenn!
Glenn: Hey! Hey! How are you?
Traci: Good, good. We talked three years ago; do you remember the entire conversation?
Glenn: I do remember it, yeah. In fact, I can even recite it backwards.
Traci: (laughing) Perfect! I have to suck up to you a little bit. Since our last talk, I saw you guys perform live twice, and you guys are just so phenomenal – so sharp, so amazing, and the best dressed band, of course.
Glenn: Oh, thank you!
Traci: I want to read to you what I put in my review: “‘Hourglass’ featured an awesome guitar solo from Tilbrook, and with him being such a charming Brit, watching him rip a wicked guitar solo while wearing a suit was unexpected, but it was phenomenal.” Also during “Slap & Tickle,” “Stephen and Simon’s keyboards and drums were a highlight of the show, and I just want to watch that performance on repeat forever.”
Glenn: Thank you! That LA show, Pete Thomas from The Attractions was at the show. He was in Squeeze when Elvis had some downtime for a while. He came backstage after and said, “You’ve changed in a good way.” He’s seen us loads of times and he was blown away with us then. I know we’ve changed; we’ve got better as a band. We pay proper attention. I think we’re right on it now.
Photo by Scott Saldinger
Traci: When we talked a few years ago, you discussed the 50-year-old songs that you were going back to, and you did it, and now we’ve got “Trixies.” What was that like to, I mean, it’s probably hard to go back to something you wrote when you were younger, but you were young-young! Sixteen, and 19.
Glenn: Yeah.
Traci: Was that hard? How did you feel?
Glenn: Well, I think that we’d always thought the songs were good, and then the only demos we had are demos we recorded at the time. The songs are good, but the thing is, yeah, we had no idea about arrangement. At the time I wrote them, I was convinced I was Marc Bolan and sang with a really weird voice, and Chris sounded very different too. I still had a low voice, so revisiting that part of it was like, “Well, I’m so glad we’re not like that anymore.”
Glenn went on: But the songwriting part of it, when I sat down and played the songs, which I haven’t done for a long time, and learned how they went properly, it was like, “Crikey, they are really good,” and they’re very different to us now. And that was sort of – it was lovely being able to go back and do those songs with the level of sophistication that the writing had, but we didn’t have as players or singers.
Traci: I can hear the influences from back then, Bowie and Beatles, the “older” influences, but they didn’t sound dated.
Glenn: Yeah, I think it’s funny how transparent the influences are on all the songs. I can trace back who I was listening to, but none of them sound like the people I was into. They sound sort of reminiscent of them but not like them. That’s the weird thing about it, is that it’s proper like fanboy, literally fanboy absorption.
Traci: Although, “Why Don’t You,” that chorus is so Squeeze.
Glenn: Yeah.
Traci: I would know that was Squeeze no matter where I was. But I love the variety of it – like the nice intro from “What More Can I Say,” and then you jump up with the “Hell on Earth.” That reminded me of, maybe “Slap & Tickle” or “Another Nail,” there was a blend in there. All that to say, you guys did an amazing job bringing those into the current era.
Glenn: You know, it feels like a fresh record to me. We put a lot of time into getting it right, and I think it really paid off. It’s one of our best records for sure.
Traci: I know it’s a concept album but is it about the club in general or is it a specific story time frame?
Glenn: No, it’s not, and I think that’s really good, because it’s never too specific. It’s specific about certain things, characters, but none of it is a story that starts and finishes. What it is, it’s open-ended and open to interpretation.
Glenn continued: I think that bodes well for us going forward if we want to do something else with it, because there’s room, there’s always room for maneuver in it. If this were to become a musical or a movie. The story has some time to breathe with all the characters that are in it, and quite what they do, we’re not sure of yet.
Traci: “The Jaguars” sounds like a good opening song for a concert. I was like, “That sounds almost like a ‘Sgt. Pepper’ beginning.”
Glenn: Yeah, yeah, I mean, “The Jaguars,” it’s such a basic song, but it has a really great energy about it, and it makes me laugh.
Traci: I don’t know if sleazy is the right word, but “Don’t Go Out in the Dark,” that’s just like a nice sleazy guitar sound. All different moods and varieties, but very cohesive going together.
Glenn: Thank you, thank you, thank you, thank you.
Traci: Now it is time to take it out on the road! I know you guys have been touring in Europe a bit.
Glenn: Yeah, yeah, yeah.
Traci: And then you’ll come to us for a pretty big tour.
Glenn: It is, it’s the biggest tour we’ve done for a while. I’m sure we’ll all be broken by the end of it.
Traci: Meh, you can do it! It’s billed as 55 years of classic songwriting, so is it “Trixies” and then other tracks after or is it all going to be blended in?
Glenn: You know, my instinct is that what we did in Europe, we played the whole of “Trixies.” I think within the time that we have I don’t think we’ll do the whole of “Trixies,” but I think what we will do is a really big “Trixies” section in the middle.
He went on: What we discovered, I mean, we’ve done comparatively few dates like that, but the “Trixies” stuff is really hitting well with people. I think we’ll have the courage to do a good wad of it in the middle. I didn’t feel – you could always tell if an audience is going, “Ah, maybe I’ll go to the bathroom or something” – but it really didn’t happen. I think we’ll give it a go, and if it doesn’t work, we’ll amend.
Traci: I’m used to Squeeze looking sharp in their suits and being very professional. With some of the adult entertainment themes of “Trixies,” is this going to turn into a Mötley Crüe dancing girls tour?
Photo by Dean Chalkley
Glenn: (laughing) No, no, I mean, we talked about what goes on there, and definitely there are some pretty unsavory characters. “Why Don’t You,” the guy’s a particularly unsavory character. But I think it’s important that we portray that for what it is, which is actually, it’s nasty. It sounds sweet, but it’s a nasty person there. I think we have to cover all of that. And the thing is, 50 years ago, I sound like an apologist, I’m not, but things were very different and that was a lot easier to sing those songs then than it is now.
Traci: You’ve matured.
Glenn: Hopefully I’ve either matured or I’ve become corked! (laughing)
Traci: You have some fantastic friends coming along: Adam Ant and Haircut 100, plus that Leon guy is pretty good. I saw him on your last tour.
Glenn: Yeah, yeah, it’s great. Leon has got such a lot to offer, and the thing about the way that we play together is, it’s amazing. It’s amazing to have a guitarist who, I mean, literally, we are cut from the same cloth, and there are certain things that we can do together that reminds me we’re capable of doing like Eagles-type dual guitar solos, and it’s really exciting to be able to do that.
Traci: Well, I will be there on opening night in Nashville!
Glenn: Oh cool!
Traci: Again, you guys are amazing and I’ll be yelling in appreciation, waiting for you to call us “lovelies.”
Glenn: Brilliant!
Traci: Did I miss anything?
Glenn: I think you’ve covered it all. We’re coming and we’re brilliant. (laughing)
Catch Squeeze when they come to a venue near you. Tickets for this tour are available now.
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