Publication Date September 15, 2026
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September 14, 2026UncategorizedCelebrates 30 Years Of
TURN THE RADIO OFF
September 15th, 2026 by Jimmy Avarez
It’s been a few minutes since The Reel Big Fish took the stage. Earlier this summer their fans received the long-awaited news they had been waiting for. Aaron and Scott were jammin’ again and before we knew it – the band announced that they were getting back together for a run at Warped Tour.
Needless to say the world of ska-punk went nuts to hear their skankin’ heroes would be back! We saw the posts; the band was practicing in preparation for Warped and there were some very familiar faces.
Aaron Barrett wad back and on guitar and singing the tunes we love to live. Scott Klopfenstein was back on trumpet and backing vocals.
The rest of The Fish include Derek Gibbs on bass, Johnny “Christmas” Christianson is back on trumpet and backing vocals, Dan Regan is on trombone. There’s Matt Appleton who is taking a few dates away from Big D and the Kids Table to play the sax and Ed Larson returns to pound the skins.
The is no doubt, their collective sonic vision, on stage energy and volcanic presence was missed dearly by their fans. With a wink and a smile Barrett continues to amaze on stage as the Fish belt out the hit parade – “She Has a Girlfriend Now,” “Ska Show,” “Beer,” “Monkey Man,” “Everything Sucks,” and of course, their uber-hits “Take On Me,” and “Sell Out.”
In the here and now, RBF is celebrating the 30th anniversary of their landmark album “Turn The Radio Off” by giving their fans a special with the Fish at The Wiltern on Thursday, December 3rd.
Support for the show will be provided by fan favorites The Goodwin Club and The Originals.
This will be a skankin’ good time, so get ready to do the fish with The Fish. General sale tickets beginning on Friday, September 18th at 10 am (local time).
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September 13, 2026UncategorizedLive from Pacific Amphitheatre
September 13th, 2026 Review by Amaris Becker
It had been raining on and off all day in Orange County, but Boy George and Culture Club still had the Pacific Amphitheatre packed. A Sunday night on a three-day weekend with rain, yet these ‘80s legends were greeted by almost 8,000 happy fans.
The opener canceled, but any disappointment soon vanished – Boy George strode out to the stage and suddenly none of it mattered.
Donning an oversized yellow hat, a red polka-dotted jacket, and white on black polka-dotted pants, even all these years later, Boy George is first and foremost a performer. He invigorated the crowd immediately, and they were on their feet before the first song ended.
“You’re So Loud” opened the night, and the venue took the song title to heart.
It was obvious the crowd was comprised of longtime fans. When George called out asking where everyone’s tambourines were, the crowd answered by putting their fists in the air. Everyone around me seemed to know exactly when to throw their hands up and what motions were supposed to follow.
Boy George is a dominating figure on stage, and he brought a layer of theatrics to the rest of the band. At 65, he still has the kind of presence that does not require him to do anything more than be himself.
His backup vocalist seemed to never stop moving, working through a choreographed two-step. Behind them, the screens ran what I can only describe as a fashion show, shirtless men moving through stylized backdrops.
Pacific Amphitheatre
Costa Mesa, California
Roy Hay handled guitars, keyboards, and a multitude of other song elements, and Mikey Craig held down bass. The two of them still had real chemistry, exchanging looks across the stage in a way that felt like an inside joke between people who have been doing this together since 1981.
I think that was one of the reasons this band was so enjoyable to watch. Forty-five years after they formed, they still enjoy being onstage, and they still enjoy playing with each other.
“Church of the Poison Mind” went straight into “I’m Your Man,” followed by “Standing Tall in a City of Love” and “Move Away.”
Before “It’s a Miracle,” Boy George stopped to tell a story involving Kojak and a limousine, which I will admit sent me straight to Google. For anyone else in my position, Kojak was a bald television detective from the 1970s with a lollipop habit.
That detour was not random. Boy George talked repeatedly about the 1970s as the thing that made the 1980s possible, about Motown, Marc Bolan, and Bowie, about the artists who built the floor he ended up dancing on.
“I’ll Tumble 4 Ya” and “Letting Things Go” kept the momentum before the set turned personal. He dedicated “King of Everything” to his mother, and talked about how supportive she had always been through his battles with addiction.
He covered Bread’s “Everything I Own” and T. Rex’s “Children of the Revolution,” then delivered “Time (Clock of the Heart)” and “Do You Really Want to Hurt Me” back to back. The deeper we got into the set, the more the music drifted from new wave pop toward something you would hear underneath a heartfelt scene in a movie rather than in a club. Whether that was intentional pacing or just the reality of a catalog that has aged into nostalgia, it worked better than I expected.
Before the band even went on, tributes to Dolly Parton were displayed on the screens, and Boy George took a moment to honor her. He spoke warmly, calling her one of the greats and someone fame had never corrupted. He told the crowd she had worked with them on one of their songs, and that all she asked for in return was a thousand dollars and a limousine. He said David Bowie shared many of those same qualities, then dedicated “Let’s Dance” to both of them.
He was also direct about the controversy that has surrounded him in recent months, following the release of his new song “We Will Dance Again.” “Now at 65 I couldn’t give a shit,” he told a crowd that mostly seemed to be around his age, and they cheered back in full agreement. He returned to that territory more than once across the night, always with the same energy, which is to say without apology and with a fair amount of humor. “If this is what being canceled looks like,” he told the crowd, “I seem to be doing fine.”
Their fans showed up in force. A lot of the crowd was in Culture Club and Boy George merch, and more than a few came dressed as the man himself. Bold prints, dyed hair, and an overall sense of fearlessness were everywhere. They followed the lead of the person they came to see, expressing themselves however they wanted and asking for neither permission nor forgiveness.
Unfortunately, the finale approached as the Pacific Amphitheatre has a hard 10 p.m. curfew. “Miss Me Blind” got cut down a tad, but they squeezed in a cover of the Rolling Stones’ “Sympathy for the Devil” and closed, as they had to, with “Karma Chameleon.”
Everyone knew it was coming and the crowd came back with every word.
Despite the questionable weather, by the end no one seemed to mind. What stayed with me was the atmosphere – bold prints, dyed hair, wide brimmed hats, and thousands of people who had clearly decided years ago that being too much was the entire point. They did not come to be surprised. They came to sing outdoors with people who loved and lived Boy George and Culture Club as much as they did, and they got exactly that. An ode to a band, and to the man who defined the ‘80s and their youth.
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by John Gilhooley Photography
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September 13, 2026UncategorizedPUBLIC IMAGE LTD
LIVE FROM ORANGE COUNTY
The Observatory: Santa Ana
September 13th, 2026 Review by Bruce R. Kilgour
It has been almost eight years since Public Image Ltd. has toured the United States, and the Santa Ana Observatory – where a capacity crowd gathered on September 8th – was also the site of their last Orange County visit in 2018.
The band (more commonly referred to as PIL) has seen many lineup changes since its 1978 inception but has always been led by founder and sole constant member, John Lydon.
THIS IS NOT THE LAST TOUR
Much has changed for Lydon – also known by his Sex Pistols stage name Johnny Rotten – since we last saw him. In 2023, both his wife of 44 years and his best friend (and manager) of 50 years passed away. A well-received LP, “End of World,” was released between those two personal losses, but songs from that LP are surprisingly absent from this tour’s set list.
This ambitious 44-city North American tour extends into March 2027, with short Australia and Japan runs in January and February respectively.
Southern California punk band Plague Vendor is supporting PIL on all the US dates, and their aggressive and exciting 30-minute set was well received by the Observatory crowd. Lead singer Brandon Blaine has been compared to Iggy Pop, and this was evident as he prowled the entire stage with intense energy.
The recent addition of guitarist Henri Cash, who is also in Starcrawler, has amped up Plague Vendor’s attack, and half of their 12-song set was comprised of newer material written and released over the last 12 months.
The band’s two biggest songs, “Black Sap Scriptures” and “New Comedown,” were performed back-to-back early in the set, which ignited their many fans in the pit.
PIL is presenting a 12-song, 100-minute set on this tour featuring tracks from six of their 11 studio albums, spanning 1978-2015.
Opening with “Home” from the 1986 release “Album,” Lydon – sporting orange for the occasion – was in fine voice. Next was “Know Now,” one of two songs in the set from the 2015 LP “What the World Needs Now…”
A song not performed by PIL in North America since 1989 followed, “World Destruction.” This was originally released in 1985 by Time Zone featuring Lydon and early rapper Afrika Bambaataa as a one-off 12” single. It was not initially commercially successful, but due to extensive airplay on KROQ and its later use in The Sopranos, it has become a cult favorite.
The well-known 1984 track “This Is Not a Love Song” was next, but the arrangement was drastically different due to the slide playing by guitarist Lu Edmonds on his modified electric saz, a traditional Turkish stringed instrument that he also uses in his other band The Mekons.
“Poptones” from 1979’s “Metal Box” was next, and the eight-minute track had additional lyrics referencing Lydon’s late wife, resulting in him becoming visibly emotional. Before “Death Disco,” another song from the same LP, Lydon stated, “I know… everybody dies… except me!”
“Warrior” from 1989 was next, providing an opportunity for drummer Mark Roberts (who joined PIL last year) and longtime bassist Scott Firth to provide a menacing post-punk / disco beat. Lydon launched into a brief rant about the heat, saying that “it’s hot like Florida, but this is the proper Orange County!” The band then played the profane song “Shoom” which he dedicated to his late father. “Shoom” begins with the lyrics “Fuck you, fuck off,” which Lydon insisted on the audience participating in.
Lydon complained that over the summer he has “had two flus and pneumonia and you, however, are dead to me!” He further baited the crowd by sarcastically asking, “Have you given up?” The main set ended with “Open Up,” the 1993 hit by British electronic group Leftfield on which Lydon was the vocalist. PIL has performed this song on most every tour since 2010. Firth switched to a small keyboard for the track.
Lydon then said that he needed “a three-minute Marlboro cigarette break,” and for us to “make as much noise as you want.” PIL returned exactly on time and went straight into “Public Image” from their 1978 debut LP, “First Issue.” Lydon showed off his dance moves and seemed amused as a small mosh pit developed in front of him.
Next was the band’s most well-known song, “Rise” from “Album,” which has been performed on every PIL tour since 1986. “Rise” developed into a manic jam with Edmonds soloing at the front of stage. “Do you like the guitar?” Lydon asked. Despite the increasing volume, Lydon said, “I don’t think the guitar was loud enough!” Edmonds cranked it up further and then Lydon repeated this gimmick with Roberts and Firth. The volume was clearly affecting the crowd – I saw several folks covering their ears for a moment. Lydon gleefully proclaimed, “This is Public Image Limited!” and the band left the stage briefly.
The house music came up, but PIL returned for what Lydon introduced as “a little ditty called ‘Chant.’” After this final song, Lydon introduced PIL by turning to the band and saying, “Hello, Lu… Hello, Scotty… Hello, Mark!” To the crowd, he said, “You can call me whatever the fuck you want… but I’ll throw it right back at you! Thank you, Orange; it’s been a pleasure.”
This current Public Image Ltd. lineup is a powerful musical presence, and it’s great to see John Lydon entering his 50th year as a frontman with such wit and grace.
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by Darkroom Rebellion | Steve Allen
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September 13, 2026UncategorizedSONGS IN THE KEY OF LIFE
50th Anniversary Tour
September 13th, 2026 by Traci Turner
The man is a living legend. His accolades are endless – hello, 25 Grammys and Rock and Roll Hall of Fame! His songs have been woven throughout our lives. It is time to see him perform live and experience this incredible artist for yourself.
The man in question is the one and only Stevie Wonder. His 1976 double album, “Songs in the Key of Life,” gave us “Sir Duke,” “Another Star,” “As,” “I Wish,” and the monumental hit, “Isn’t She Lovely.”
“Songs in the Key of Life” debuted at number one on the Billboard 200 chart, and singles “I Wish” and “Sir Duke” hit number one as well.
In addition to winning the Grammy, it is often cited as the best album of Wonder’s career.
The 50-year-old album earned Wonder his third Album of the Year Grammy. While it features contributions from other luminaries like Herbie Hancock, George Benson, and Minnie Riperton, Wonder “produced, wrote, and arranged nearly every track, and played almost every instrument.”
The tour will include Wonder performing the entire iconic album, and he is sure to throw in some other hits as well – perhaps “You Are the Sunshine of My Life,” “Signed, Sealed, Delivered (I’m Yours),” “Higher Ground” (yes, before the Chili Peppers covered it), and of course, “Superstition.”
The jaunt kicks off overseas October 13th, crosses Europe, then heads to us with Madison Square Garden starting the leg November 19th.
Wonder will stop in Chicago, Washington, D.C., and Detroit, and then close things out December 19th at the Intuit Dome in Los Angeles.
Musical icons are rare and Wonder is in a class above icon – legend does not seem like a strong enough word.
Definitely an artist you need to see at least once. Tickets are on sale now, so grab them if you can!
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September 11, 2026UncategorizedLive at Garden Amp
September 11th, 2026 Review by Kevin Gomez
Mad Caddies have become a regular at the Garden Amp in the past few years, always making Garden Grove a stop on any tour they announce.
What was originally scheduled for the main outdoor stage was switched to the more intimate indoor Locker Room, and I really feel like this helped set the mood for the evening; encapsulating the crowd into a more enclosed space truly boosted the crowd’s energy.
You know it’s going to be a good night when it kicks off with off with Aggrolites’ lead singer, Jesse Wagner giving an acoustic performance. “People think ska came from Orange County… but it’s from Jamaica,” Wagner said before jumping into a cover of “Shame & Scandal” by Madness. Rocking a western shirt with red flowers (“for Dolly”), he played Willie Nelson’s “Angel Flying Too Close to the Ground.”
He did a brilliant rendition of The Clash’s “(White Man) In Hammersmith Palais” with some bite. Wagner played an Aggrolites song, “Countryman Fiddle,” before closing with his last song which even saw him go into “Monkey Man” by Toots & the Maytals.
Next up were the Goodwin Club who I saw for the first time at this very venue in January for Ska Smackdown. They were dressed as elderly women at the time, but for Thursday’s performance singer Tami Demaree was dressed in a beekeeper suit while the rest of the band were in various bee costumes. They’re a band who has as much fun at their shows as their fans do. They opened with “See All Color” and “Monster Fish.” Guitarist Charles Grey is so tall that his antenna almost touched the ceiling every time he jumped.
“Idiot Box” stirred up the first skank pit of the evening. The energy and the pit kept going for “#SorryNotSorry,” one of their most popular songs. “Little Girl” featured a guitar solo from Grey that was as sweet as it was long, and it was pretty damn long.
They played “Don’t Join the Club” and then closed with “Turkey Tit.” For the finale Chris Graue jumped to the pit where he played trumpet with his right hand, filmed with his left hand, and skanked, showing some seriously impressive multitasking.
Pico Rivera’s The Ruffolos started off strong with “Mad Ruffies Intro,” and never let up. They played the hectic “L.A. Hoedown” causing an energized skank pit to launch as I caught Mad Caddies frontman Chuck Robertson checking out the show side stage. Their lead singer Rob introduced “Clearer Mirror,” as a new song they recorded for their new album with John Avila, who has worked with Reel Big Fish and Voodoo Glow Skulls.
“Bloody Hell” was about period blood and featured a trombone solo by Luis, capped by jumping into the crowd and starting a skank pit. “Gourmet Race” was an instrumental ska that reminded me of Voodoo. “Special Yesterday” featured beautiful vocals from Bree. The band closed with “Samuel Song,” probably so named because the lyrics are “Hey, you motherfucker.”
Mad Caddies came out to Inner Circle’s “Bad Boys,” the “Cops” TV show theme song. They kicked things off with the ragtime “Villains” before slowing things down for “Lay Your Head Down,” showcasing the wide variety of the Caddies’ catalogue. Robertson introduced Zack, who was filling in on guitar for Ian Cook, lead singer for Larry and His Flask, which is currently out on tour. “Falling in Down” featured a lovely solo from the band’s horn section.
The band Skatanic Rednecks were watching at the front of the crowd as Robertson had a whistling solo for “Mary Melody.” Robertson tried to explain how open-minded and laidback his opinions are quipping, “I’m the kind of guy who will smoke weed with my black friend in my pickup truck on the way to my gay friend’s wedding.” They played the ultra popular, “Leavin’” singing, “Life goes by so damn quickly for me, wanna have some fun.” At 45, boy, do those lyrics really resonate.
Robertson took time to play “Coyote” per a young fan’s request. He then advised the crowd they were taking it back to “late ‘90s, early 2000s” as they played a slew of fast, old ska-punk. Starting with “Monkeys,” going into “Road Rash,” and then highlight of the set for me, “Drinking for 11.” The latter song Robertson said made him a kind-of celebrity in Hawaii where that song shot up to the top of the charts.
They slowed things way down for the groovy “Backyard.” As they often do, they then turned it back up and hit the ragtime, jazzy “Tired Bones.” The Caddies played the pirate shanty, “Weird Beard” before finally closing a fun-filled night of ska goodness with “All American Badass.”
Another successful night of all things ska at the Garden Amp, courtesy of Mad Caddies and friends!
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by Todd Markel Rock Images
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September 11, 2026UncategorizedSet to Invade Observatory Santa Ana
September 11th, 2026 by Traci Turner
English punk rockers the Buzzcocks will invade Santa Ana in November and tickets are on sale now. The band previously announced US dates, but the SoCal date is brand new.
The night before their November 14th Darker Waves appearance, Buzzcocks will play The Observatory and bring Modern English and Grade 2 as support.
Founded in 1976, Buzzcocks had their greatest success with “What Do I Get?,” “Ever Fallen in Love (With Someone You Shouldn’t’ve),” “Love You More,” and of course, “Orgasm Addict.”
Sadly, original frontman Pete Shelley passed in 2018, but Steve Diggle has taken over vocals as well as continuing guitar, and is joined by Danny Farrant on drums, and Chris Remington on bass.
The gents released the album “Attitude Adjustment” at the beginning of 2026 and are ready to share it with us on this side of the globe.
Grab tickets to see the guys Friday in Santa Ana, then get a full day of Buzzcocks, Smashing Pumpkins, Morrissey (maybe), Soft Cell, Simple Minds, Adam Ant, The Damned, and more at Darker Waves on November 14th.
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September 10, 2026UncategorizedLive at The Observatory Santa Ana
September 9th, 2026 by Steve Allen
There’s a weird kind of magic that happens when UK indie legends cross the Atlantic to play a smaller room like The Observatory in Santa Ana.
Tonight wasn’t just a standard Thursday gig – it felt more like a big room of die-hard fans gathering for a celebration of music that refuses to age.
Mercury Rev got things started, and honestly, they didn’t care about traditional verse-chorus structures or flashing lights.
It was all about the trip they took you on.
Their set felt like a cinematic, never-ending story built entirely out of experimental psychedelia. The band would float through dreamscapes before slowly, methodically building into an uproar of a dramatic finish.
Then The Dandy Warhols took over, instantly shifting the room’s temperature with their brand of moody, guitar-driven cool. It wasn’t that the band itself was in a bad mood – they clearly loved the set – but the music carried this heavy weight.
They locked into deep, hypnotic, droning rhythms and shoegaze undertones. Their many fans ate up every second of that dark swagger, matching the band’s onstage nonchalance with an energy-driven approval of their own.
The fan favorites seemed to be “Good Morning,” “Ride,” “Godless,” “Holding Me Up,” and “Bohemian Like You,” although the crowd was thrilled with the entire set.
By the time The Charlatans UK (0r simply The Charlatans) walked out, their audience was ready, already buzzing. They didn’t wait with a buildup, they immediately dropped those familiar keys with their ’92 uber-hit “Weirdo” right out of the gate, a big fan favorite that instantly set the tone. From there, they dug even deeper back into their catalog, pulling out the jangly, nostalgic hooks of “North Country Boy” early on.
Frontman Tim Burgess still has that crazy, ageless charisma. Sporting a heavy 5 o’clock shadow and a pair of sunglasses that never left his eyes, giving him a rugged look, he moved across the stage with an infectious grin, often reaching out to the fans on the barricade.
What really cut through, though, was seeing how much guitarist Mark Collins genuinely still enjoys playing. He played with a deep intensity that applied not just to their fresh tracks, but to those decades-old classics as well.
However, the real glue of the night was Tony Rogers. His work on the Hammond organ is what brought the whole sonic puzzle together. Rogers injected this swirling, 1960s garage-rock vibe that locked straight into the heavy, modern rhythm anchored by Collins and bassist Martin Blunt. The groove felt bulletproof.
One of the strongest moments of the night was a driving rendition of “Toothache” from their 1995 self-titled album. The entire floor of the venue was vibrating under the weight of Blunt’s bassline.
The Charlatans didn’t just lean on nostalgia. They seamlessly wove in cuts from their new album, “We Are Love.” Tunes like “Deeper and Deeper,” “For the Girls,” and the title track “We Are Love” showed a distinctly softer, more vulnerable side to their songwriting. It gave the setlist breathing room without dropping the band’s trademark groove.
Other tracks the crowd loved included “Can’t Get Out of Bed,” “Different Days,” “Toothache,” “You’re So Pretty – We’re So Pretty,” and “How High.”
But a Charlatans show needs a massive finish, and they gave us exactly the two tracks everyone bought tickets for. For the encore, when the opening chords of “The Only One I Know” rang out, the venue exploded into a wall of singing voices.
They finally closed down the night by stretching out into “Sproston Green,” a hypnotic, sprawling masterpiece that left the room in a literal trance.
Decades into this, The Charlatans proved they aren’t just surviving on old memories – they are still actively owning the stage.
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by Steve Allen | Darkroom Rebellion (IG)
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September 10, 2026UncategorizedCelebrates 100 years
September 10th, 2026 by Stuart Karpel
Since its opening in 1926, the Fonda Theatre on Hollywood Boulevard has seen a wide array of acclaimed artists, including Tom Petty, Sir Paul McCartney, The Rolling Stones, and Stevie Wonder.
The undeniably historic location of the contemporary concert hall has seen millions of concertgoers over the past century and as one of California’s earliest performance halls, it is a staple in not just entertainment history, but also architecture.
The intimate 1,200-seat concert hall is the perfect setting for any music fan to enjoy the echo of the venue’s vast history. The atmosphere is meant to breathe nostalgia anywhere you are, from the Victorian balconies to the sleek vinyl floor, and even a traditional marquee, this theatre is packed with beauty.
The venue is currently celebrating their 100-year anniversary, and the lineup announcements have just been released for October. So far, it’s set to be a crazy month of nonstop legends.
No matter what show(s) you end up going to, you can expect to hear amazing performances to start the month including Suicidal Tendencies, Father John Misty, and Remi Wolf.
The second half of the spooky season promises to be just as great with acts like Peaches, Cuco, Flying Lotus, and Animal Collective, hoping you’ll get your tickets and celebrate with them.
Multiple headliners are still to be announced, so keep an eye on their calendar.
Tickets are on sale now, get yours soon so you don’t miss out on this eclectic mix of music genres spanning an array of eras and unique sounds.
From genres like bedroom-pop, to psychedelic electric hip-hop, Chicano soul, and even new wave synth-punk, October is sure to be jam-packed with spectacular concerts.
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September 9, 2026UncategorizedCHEAP TRICK & X
Bring Nearly a Century of Rock History to
September 9th, 2026 Review Ron Lyon
There was nearly a century of rock history onstage Saturday night at Pacific Amphitheatre, as Cheap Trick and Los Angeles punk pioneers X turned an unexpected pairing into a fitting look at two very different branches of American rock and roll.
The September 5th bill wasn’t originally supposed to happen this way. X had been scheduled to appear with Joan Jett & The Blackhearts before Jett was forced to withdraw following surgery for a fractured vertebra. Cheap Trick stepped in, creating an interesting pairing with roots stretching back almost five decades.
In 1977, Cheap Trick released its first two albums and played Hollywood’s Whisky a Go Go. At roughly the same time, X was taking shape in Los Angeles. Nearly 50 years later, both bands remain remarkably recognizable versions of themselves.
For X, that still means Exene Cervenka, John Doe, Billy Zoom, and D.J. Bonebrake – all four original members. With the band’s name and 1977 looming behind them on the backdrop, the significance was hard to miss. X is approaching its 50th anniversary in 2027 with the four musicians who established its identity still sharing the stage.
There wasn’t much ceremony involved – X simply went to work.
Their 19-song set reached across the band’s history, including “Your Phone’s Off the Hook, But You’re Not,” “Sugarlight,” “The Once Over Twice,” “The New World” and “White Girl,” while “Smoke & Fiction” represented the band’s most recent chapter and 2024 album of the same name.
The closing stretch was particularly effective. “Los Angeles” led into “Nausea,” followed by “Johnny Hit and Run Paulene” and “Motel Room in My Bed,” before X finished with its long-standing cover of The Doors’ “Soul Kitchen.” It was a closing run rooted heavily in the band’s earliest years, and in Los Angeles itself.
Then came Cheap Trick.
Formed in Rockford, Illinois in 1973, Cheap Trick has already passed its own 50-year mark. Robin Zander, Rick Nielsen, and Tom Petersson remain at the center of a band whose music has always occupied its own territory somewhere between power pop, hard rock and punk attitude.
Zander took the stage in his familiar black Dream Police-style hat and an All Washed Up shirt, visually connecting two very different eras of Cheap Trick. The band opened with “Clock Strikes Ten” and worked through early favorites “ELO Kiddies,” “Lookout,” and “Big Eyes.”
Time has inevitably taken a little speed off the edges, but Cheap Trick can still rock.
During “Ain’t That a Shame,” Zander strapped on his distinctive orange Rickenbacker while Nielsen worked a slide guitar. For “California Man,” Nielsen switched to one of his unmistakable yellow guitars before surveying the amphitheater and telling the crowd, “You are a fine-looking audience.”
Cheap Trick also made room for the present. “The Riff That Won’t Quit,” from the band’s 21st studio album, All Washed Up, proved a genuine rocker, with Nielsen switching to a sunburst Les Paul and Petersson wielding his classic white 12-string bass.
Nielsen kept things loose between numbers. Spotting a FEAR T-shirt prompted talk about Lee Ving, followed by Cheap Trick’s recent run of unexpected substitute gigs — first stepping in when ZZ Top couldn’t perform in Los Angeles and now replacing Joan Jett in Costa Mesa. Nielsen joked that if another band wasn’t feeling well, they should give Cheap Trick a call. The audience responded with an awkward mixture of groans and laughter. Quintessential Rick Nielsen.
Robin Taylor Zander, Robin’s son and a familiar touring presence with the band, took over lead vocals for “High Roller.” Petersson followed with his own vocal spotlight on “I Know What I Want,” the Dream Police track he originally sang in 1979.
Then came the difference between a deep cut and a song that has become part of the culture.
The opening of “I Want You to Want Me” brought the audience to its feet. “Dream Police” and “Surrender” kept them there, providing the inevitable late-show sing-alongs.
Cheap Trick returned for an encore of “Auf Wiedersehen” and “Goodnight.” Nielsen appropriately said goodbye with one of his signature double-neck guitars strapped over his shoulder, one last unmistakably Cheap Trick image to end the night.
What began as a replacement booking ultimately produced a pairing that made historical sense. X and Cheap Trick emerged from different corners of the 1970s, but both absorbed the urgency and attitude of the period in very different ways.
Nearly five decades later, neither came to Pacific Amphitheatre simply to commemorate the past. Both played new material alongside songs that made their reputations, with the musicians who established their identities still at the center of it all.
SHOW PHOTO GALLERY
by Ron Lyon Photography
September 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon Photo
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September 7, 2026UncategorizedM I L E Y
Bass Persuades Coming to Hollywood Bowl
September 7th, 2026 by Traci Turner
The girl we knew as Hannah Montana, who became the woman we called Miley Cyrus, is now simply “Miley.”
In addition to dropping her last name, this week Miley delivered news of an upcoming album and two Hollywood Bowl shows. The “Flowers” singer will perform at the Bowl October 16th and 18th, and release her 10th studio album, “Bass Persuades,” on September 18th.
MILEY
Hollywood Bowl
September 16th & 18th, 2026
“Music takes hold of us. We feel it, sing it, sometimes dance to it, let it out and carry on,” she wrote on social media. “It is powerful, vulnerable, sweet and strong. Heart full, heartache, every part of life in between. That’s what the title means to me. Thank you for being a part of making my wildest dreams come true. I sincerely hope you love this album.”
Miley recently guest-edited an issue of Wonderland Magazine and described the upcoming album as “a love story, but love stories are never one- dimensional. They’re always layered.” She went on, “There is definitely a romantic thread weaving through it because, like all my records, it’s a reflection of where I am in my life.”
It has been an incredible past few years for the artist. She won Record of the Year and Best Pop Solo Performance at the 2024 Grammy Awards for her monster hit, “Flowers.”
She then nabbed the 2025 Grammy for Best Country Duo/Group Performance for “II Most Wanted” with Beyoncé.
Fans are still loving her 2025 album, “Something Beautiful,” and earlier this year, Miley and crew celebrated the 20th anniversary of “Hannah Montana” with an anniversary special.
In another social media post, Miley wrote about the Bowl: “It’s been a while. The Hollywood Bowl is my favorite place to experience music and see my favorite artists. I’ve sat in those seats many times, but I’ve never taken the stage. LA is my heart and I’m bringing it home. See you there.”
An American Express presale for the Bowl shows launches at 10 a.m. on September 8th, and Miley’s artist presale will begin at 10 a.m. on September 9th. Tickets go on sale to the public on September 10th at 10 a.m.
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September 3, 2026UncategorizedLive from The Pinnacle | Nashville
September 3rd, 2026 Review by Traci Turner
Social Distortion brought their Born to Kill World Tour to Nashville this week as they made their way across North America on their massive trek. The boys from Fullerton had some help from fellow SoCal natives, Descendants, and from the land down under, The Chats.
In February of this year, Social Distortion teased new material via a short video on their socials. The tease led to the May release of their eighth album – their first in 15 years – titled “Born to Kill.”
They dropped the title track as the first single and announced the tour, which runs through October.
The evening kicked off with The Chats politely walking onto the stage, announcing just as politely, “We’re from Queensland, Australian and it’s very nice to be here in Nashville.” The trio then burst into a loud and fast set that did not slow down until it was over.
With Eamon “Flamin” Sandwith on vocals and bass, Matthew Boggis on drums, and Josh Hardy on guitar, they began with “Billy Backwash’s Day” and “Dead on Site” before Sandwith announced, “Here’s a song about a broken ATM called ‘Paid Late.’” The track featured an incredible shredding solo from Hardy on his Flying V Gibson.
The Chats flew through their songs at breakneck speed, making the most of their time. The early crowd was into it, enjoying “Panic Attack,” “Nazi March,” “Temperature,” and “Ticket Inspector.”
Sandwith spoke up once more to introduce the next song with, “Here’s a song about a car” before “6L GTR.” They then took us through “Ross River,” “Drinking for Two,” “Struck by Lightning,” “Identity Theft,” and “Smoko,” before a quiet, “We are The Chats. Bye,” and closing out with “Pub Feed.”
The Descendants bounded out when it was their time and frontman Milo Aukerman proclaimed, “Hey Nashville! Did you like The Chats? We’re the Descendants and we’re here to tell you how much everything sucks!” which led into “Everything Sux.”
Two things I must admit: I have never seen Descendants live, and I love a good guitar face. Stephen Egerton gave THE best guitar faces, so I admit to enjoying his performance, but seriously, the whole band was incredible. How these guys – a tad older than I – could have so much energy and put on such a fantastic show…. well, they rule.
Besides Egerton’s guitar faces, seeing Aukerman healthy and performing without a hitch was wonderful, and I was equally impressed with Karl Alvarez (bass) and Bill Stevenson (drums). They also went fast, hard, and loud, blasting through “Hope” and “I Don’t Want to Grow Up.”
The crowd – which very much felt like being back in California – included many Mike Ness lookalikes. There were fans as young as 10 and as seasoned as 60+. In fact, during “I Don’t Want to Grow Up,” a 10-year-old boy at the rail was being taught how to “dance like a punk” by a bald gentleman with a long grey beard. It was a very cool scene to watch unfold – one generation teaching another the ways of the pit.
The crowd was very into “Clean Sheets,” singing loudly and pointing back to the band with the “so are you!” The pit now had crowdsurfing going on and people were ending up in the photo pit, then running right back out to hit the big pit once again.
Descendants flew through several songs that the crowd really loved, including “I Like Food,” “Nothing With You,” and a huge reaction came for “Rotting Out.” The fans and the band seemed to be trying to match each other’s energy levels and both were insane.
“Myage,” “Victim of Me,” and “When I Get Old,” led to Egerton and Aukerman joking about taking a Weinerschnitzel order, with Aukerman asking for a coronary bypass instead. Obviously, they then played “Weinerschnitzel.”
After “No, All!” and “’Merican,” a “Fuck Donald Trump!” got cheers from the crowd. “I’m Not a Punk,” “Good Good Things,” and “Coffee Mug” were a few more crowd pleasers. Aukerman then said, “I wanna be stereotyped and classified,” then left the stage to enter the photo pit and stand on the barrier for “I’m the One.”
Descendants’ blistering set concluded with “I Wanna Be a Bear,” “Thank You,” “Bikeage,” and “Smile” and the venue let out huge whistles and cheers for them as they left the stage.
At last it was time for our boys! David Bowie’s “Rebel Rebel” began playing and the crowd sang along. As the gents – Jonny “2 Bags” Wickersham (guitar), Brent Harding (bass), and David Hidalgo Jr. (drums) – walked out onto the stage, the fans began yelling and hollering. Then frontman Mike Ness strode out and the roar of the audience was insane!
Kicking off with the new album’s title track, Social D sounded outstanding and was firing on all cylinders. The packed venue was already amped up, but the energy continued to shoot up.
After “Born to Kill,” Ness said his voice was giving him trouble so we may need to sing along, which had no one complaining. Everyone jumped in on “Ring of Fire” and the cover that helped make them was sung loudly and proudly from the floor.
“Untitled” brough a toned-down vibe, but in between songs, the whistles and cheers would not stop. “Tonight” was followed by “No Way Out” which made the crowdsurfing ramp up again.
While “The Creeps” went over well, things escalated for “Mommy’s Little Monster.” In addition to the fans going insane over it, I loved Wickersham’s guitar solo and got chills when he, Ness, and Harding were at the front of the stage, singing together.
Ness asked for the house lights to be turned up so he could “have a look at this crowd.” He said his voice gave out around 7 p.m., but he “could not cancel this show.” He discussed growing up loving gangsters and guitars, Bruce Lee, “Bonnie and Clyde,” and “Easy Rider.” He said he watched the two movies at 10 or 11 years old and cried at the endings (“I was a sensitive kid.”), and how he always fought for the underdogs.
He said the next song would be dedicated to Dolly Parton, which drew a huge cheer. Parton’s death last week devastated so many, and Nashville has been especially mournful. He said, “You better name that fucking airport after her!” which is a proposal from the governor at this time. Ness said he never met Parton, but felt like he knew her, “as we all do.” His song of choice, “The Way Things Were,” which featured another fantastic Wickersham solo.
After calling “Machine Gun Blues” an “old time family song,” Ness said the next song was originally written for “the White record,” but sat on the shelf 30 years. They brought it back to life for the new record, the song being “Don’t Keep Me Hanging On.”
Ness talked about the early days, back in 1979, when art “especially punk rock, was met with violent reaction.” He went on, “People told us we couldn’t do this. We don’t listen to what they tell us.” “Partners in Crime” was followed by a song he introduced with, “You definitely know this one,” and started “Ball and Chain.” After his own sweet guitar solo, Ness asked for help singing, however he did not need it for that epic ending.
After “Through These Eyes,” Ness spoke again, thanking The Chats and Descendants, making a joke that with their peers in Descendants, “We were not supposed to live this long.” Lucky for us, both singers survived their 2023 battles.
He continued to speak, discussing the early days and how “in 1987 or 1988 I wrote this, and I was 100% certain no one would like it.” He went through his history of crime, drugs, jail, and the band itself – “Hank Williams meets the Ramones, Sex Pistols meets The Stones. In the middle is Social Distortion.” He concluded with, “I was writing about my life, or the story of my life.” The actual “Story of My Life” closed their set with a raging crowd cheering them on.
After a brief moment away, they returned for an encore with “Reach for the Sky,” which once again had the three at the front of stage singing together, sounding awesome. It also featured a beautiful piano solo from touring member, David Kalish.
Alas, it was time to go and “Bad Luck” wrapped things up, adding another epic Ness guitar solo. As they have since last week, Social Distortion walked off stage to the Dolly Parton classic, “Jolene.”
Social D will traverse North America and then hit the hometown region for two sold-out shows at the Hollywood Palladium October 1st and 2nd. The October 3rd San Diego show at Gallagher Square still has tickets available. Get your tickets and see living history!
SHOW PHOTO GALLERY
by Stephanie Pepper Photography
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September 3, 2026UncategorizedTHE WOW! SIGNAL Tour
Live from Chula Vista
September 2nd, 2026 Review by Jimmy Alvarez
As the Saturday sun began to set over the warm Pacific Ocean, droves of music fans poured into North Island Credit Union Amphitheatre in Chula Vista.
They were all there to see a music powerhouse, a band from London called Muse. Soon enough everyone would feel the power of having great openers on a bill.
Truthfully, it’s been a minute since I caught the Wasalia wonders – Portugal. The Man, and for some inexplicable reason, I had not seen Aussie / Londo alt rockers, The Temper Trap. I was eager to see the two openers, and the crowd was more than ready to get the show going. Before we knew it – it was showtime!
It didn’t take long for the capacity crowd to fill the venue, the sun wasn’t all the way down just yet so the light show wasn’t a factor.
First out to the stage were bassist Jonathan Aherne and lead guitarist Joseph Greer.
They waved to the crowd as Toby Dundas took his place behind the skins. Then, sporting a red hat, out came lead crooner, Dougy Madagi.
Despite their indie rock billing, immediately their sound was electric and packed a punch. They opened with “Love Lost,” and a quick segue into “Fader.” Honestly, I was impressed on how powerful a sound they had, and Madagi had a very booming voice. He thanked everyone for coming out early and dove into “Lucky Domes,” then “Into the Wild.”
Both Greer and Aherne put out a sonic boom with their guitars; it was really impressive, and when Madagi dove into their uber-hit “Sweet Disposition,” the crowd came to life. The voice was subtle, then he recited a scale that only masters can do and delivered an opus. The crowd responded with an enthusiastic roar.
As we were all getting settled for more, The Temper Trap left with “Giving Up Air.” It was an abbreviated set, what you expect with openers, but the crowd would have loved to have heard more. That’s when you know the night was destined to be epic – when the opener sounded like that!
By now, the moon had come out and overtaken the jealous sun as Portugal. The Man was now front and center. The crowd was ready as lead guitarist Liv Slingerland and bassist Tilley Komorny were first out. Then they were joined by Ryan Wiggans on trumpet, and drummer Vincent LiRocchi. And of course, guitarist and lead singer John Gourley took his place behind the main mic.
Gourley was stylin’ in cool threads capped off with a black Suicidal Tendencies bolero hat.
Gourley gave the crowd a wink and a smile and opened with a bang with their enormous hit, “Feel It Still.” It was as if their immersive video had somehow come to life and the crowd erupted, it was almost deafening, and it sounded magnificent.
PTM also sounded larger-than-life and they powered through their set in almost no time. Featuring other hits, “Creep in a T-Shirt,” “Purple, Yellow, Red and Blue,” “Dummy,” and “Modern Jesus.”
Backup vocalist David Marion served as an old-fashioned ska themed toaster; he was fun and all over the place, while Komorny and Slingerland showed off their guitar hero skills. Before we all knew it, PTM was closing with “Live in the Moment.” I know it’s been a minute since I last saw them live, but wow, they killed it.
Hats off to the road crew because they got the stage ready in no time. After a very brief intermission, the lights went down and we saw the silhouette of Dominic Howard behind the drums, bassist Chris Wolstenholme, and guitarist / lead singer Matt Bellamy. From the jump, they did not hold back opening with “Hysteria,” which sent the crowd into hysteria.
If you have never seen Muse before, trust me when I tell you this – their sound is soul piercing. It is hard to believe that three dudes can make so much noise! As evidenced by their next segue going into “Cryogen,” with a slide into “Supermassive Black Hole.” I literally saw concertgoers (both men and women) screaming at the top of their lungs to that one.
The show was electrifying with their light show, coupled with the music, vocals and their pounding sonic vision with “Hexagons,” and “Map of the Problematique” sent the crowd orbital. Bellamy was volcanic to say the least as the hit parade continued with “Psycho,” “Madness,” “Time is Running Out,” and “Uprising.”
Wolstenholme can slap bass, he was on fire, and their collective musical madness was highlighted when Bellamy launched us into “Undisclosed Desires” and “Starlight.”
This show really was something to behold; just when you think Muse can’t get any better, they prove you wrong. This night, they appropriately closed with their aptly named closing song, “Take a Bow.”
Muse is intense, hypnotic and simply put – they are utterly unforgettable.
Catch them on their Wow! Signal tour while you can; it really is out of this world.
SHOW PHOTO GALLERY
by Green-Eyed Blonde Photography
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