Publication Date August 21, 2026
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August 20, 2026UncategorizedLive at Pacific Amphitheatre
August 20th, 2026 Review by Amaris Becker
It’s been 15 years since The Head and the Heart released their self-titled debut album, and they brought all of it to the Pacific Amphitheatre on August 14th. They played the entire record front to back, and I was fortunate enough to experience it, and then some.
I honestly thought the Pacific Amphitheatre would be an odd venue at this time of year. It sits on the OC Fair grounds, which means the show doesn’t exist in a vacuum like it would in other parts of the year. I was concerned about the fair noise – games, rides, farm animals, and food stands – bleeding into the amphitheater and drowning out the bands, especially considering the genre of music, but I was completely immersed in the show and the overall experience.
Wilderado went on first and opened with “Stranger.” Max Rainer (lead vocals and guitar) spoke about the band’s touring and playing a venue located inside a fair, tying it back to the fairs he grew up around in Oklahoma, where the band got its start.
Rainer was joined by founding member Tyler Wimpee on guitar, Justin Kila on drums, and Aaron Boehler playing bass.
As the crowd filled in, I got the feeling that many people were hearing the band for the first time.
While not everyone knew Wilderado, the ones who did really knew them and were singing the lyrics along with the band.
The band truly connected with their audience through both crowd work and overall stage presence.
By the time they gathered around one mic to close with their hit “Rubble to Rubble,” which Rainer explained is about finding out his wife was pregnant, the crowd was singing it back to them.
When I think of the audience that would come to a Head and the Heart concert, I picture flower crowns, long flowy skirts, and, to put it simply, stereotypical hipsters. But I was pleasantly surprised by the diversity of this audience. A good number were millennial couples now taking their kids to experience the band they listened to in college, but there were people at all different stages of their lives and in all different aesthetics.
As the band took the stage, all dressed in different styles, I realized that this was the point. It was a family and friends show. Anyone could come and everyone would enjoy.
Due to this being the 15th anniversary tour, a celebration of their certified platinum self-titled debut, I was not surprised when the first track “Cats and Dogs” opened the set, followed by “Coeur d’Alene” and then “Ghosts.”
The setup of the stage was perfect. A couch, a lamp, and boxing gloves as decor, which gave the whole thing a homey, grounded feel, like we had wandered into someone’s living room instead of an amphitheater.
By the time “Down in the Valley” played, nobody was sitting and everyone was singing along.
The Head and the Heart’s music isn’t the kind you jump around to. Instead, you sing under the stars and sway as you let the lyrics take you somewhere. That was the energy of the night.
Then came “Rivers and Roads” and cheers went up from the crowd. But when Charity Rose Thielen (violin, guitar, piano, and vocals) stepped up to the mic, anyone still making noise went quiet. When she sang out those first few words, everything stopped. She didn’t get far into the song before the crowd could no longer hold their excitement and sang it back to the band.
“Honey Come Home,” “Lost in My Mind,” “Winter Song,” “Sounds Like Hallelujah,” and “Heaven Go Easy on Me” closed out the album. But what set the night apart wasn’t the album itself. It was the crowd work and the context they put the album in.
Jonathan Russell (lead vocals and guitar), one of the two founding members, gave real background on the songs and how they were created, the kind of context that makes you hear something in a different light after a decade of listening to it.
He told the story of how kismet the formation of the band was. He and Josiah Johnson, who stepped away from the band in 2016, met after an open mic night in Seattle in 2009, and everything followed from there.
Thielen, Chris Zasche on bass, Kenny Hensley on piano, and Tyler Williams on drums rounded out the lineup that recorded the debut. When Johnson stepped away, Matt Gervais, who is married to Thielen, took over filling out the live lineup on guitar and vocals.
Grassroots is how I would describe their rise. It wasn’t built on a record deal, but in a free room you could reserve at a public library in Seattle. This wasn’t a band in a hurry to end the concert or get through their set, and nobody wanted them to be.
Their hit album may have ended, but the set kept going with “All We Ever Knew,” “Fire Escape,” and “Another Story.” Wilderado came back out to join them for “After the Setting Sun,” which was a nice touch and brought a new level of energy to the stage.
Hensley on piano and keys was THE crowd favorite, with his name chanted back to him multiple times that night.
He had apparently gotten off a cruise that day and had his equilibrium thrown off, which he informed the audience was very important for playing piano.
The crowd wouldn’t have noticed even if he had messed up.
Gervais was the most fun to watch by a wide margin, with big stage energy, skipping around, clearly thrilled to be there. He was interacting with his bandmates, the fans, and the crowd as a whole. At one point he was simply chilling on the couch, playing his guitar, enjoying the night
Somewhere before “Tiebreaker” the energy settled and some people sat down for the first time all night. It did not last long. “Honeybee” started playing and brought everyone up again, and “Arrow,” “Virginia,” and “Missed Connection” played next. They ended with “Shake,” with nearly the entire amphitheater clapping along.
The crowd cheered for an encore and got one, but not the one anyone expected. Instead of a big finish, only Gervais and Thielen came back out for a piano version of “Beg, Steal, Borrow.”
It was just the two of them, and it felt raw and intimate after a night of harmonies and crowd-led sing-alongs. It was quiet, a departure from everything that came before it. We could feel the love the couple had for each other and for the music that they make.
The Head and the Heart’s music was built for the outside, and outside is where it lived. Where people could hug, sway, and sing. The Pacific Amphitheatre on that August evening met that need perfectly. An open-air amphitheater, in late summer, and I’d like to point out almost nobody was recording – they all were just too busy being there.
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by Todd Markel Rock Images
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August 20, 2026UncategorizedThe Sixth Annual
ROCK 2 FREEDOM BENEFIT SHOW
August 20th, 2026 by Stuart Karpel
As all of us music lovers know, instruments can act as a universal bridge that unites and inspires people to find connection. Communally supported artists can use their platform of expression to provide safe spaces for those whose voices aren’t heard enough.
This is exactly why The Offspring and .48 Special are coming together to present a show unlike any other.
Slave 2 Nothing, the World Famous KROQ, and In-N-Out are presenting the sixth annual Rock 2 Freedom show this November as a benefit concert to support organizations providing healing for people suffering from substance abuse.
In order to reduce the stigma surrounding this topic, it takes compassion and collective action, and as said by the In-N-Out President/Owner Lynsi Snyder, “Addiction destroys lives, shatters hearts and changes families forever.” Evermore the reason to hold this event.
Since 2016 Slave 2 Nothing, also owned by Snyder, has raised more than $23,000,000 to fight against substance abuse in our communities, as well as those affected by human trafficking. You can join in the cause by purchasing tickets for this event, which will take place at the Wiltern in Los Angeles.
The headliner of the night, The Offspring is the perfect band to cover this show and represent such an honest cause. While the band members themselves have not publicly reported anything regarding a personal history of drug use, their lyrics on songs like “The Kids Aren’t Alright” and “The Opioid Diaries” are representative of their knowledge towards the toll of addiction.
In times of crisis and concern it’s important to raise awareness of those who may feel trapped without any resources. Unfortunately, there’s people dying every day from substance abuse but with the creation of resources and new pathways to help those in need, we can all make a difference.
In addition, the host for the event will be KROQ’s Megan Holiday, she is also the founder of Life of the Party, whose dedicated advocacy for recovery and sobriety is portrayed through her own accomplishments, celebrating a decade of sobriety herself.
In a recent conversation with Megan, she said she is thrilled to be working with KROQ and In-N-Out on this. What makes it even more meaningful for her is the support of the Slave 2 Nothing Foundation, founded by Lynsi Snyder-Ellingson and Sean Elingson.
Holiday said they are two of the most compassionate and inspiring people she knows. She went on to say that she has known Sean since high school, so this is like a full circle moment for her.
Holiday highlighted that this year would spotlight the importance of extending a hand to those in need of help. Everyone knows someone who is battling this affliction. Buying a ticket or donating to one these charities is a way to help someone who needs a helping hand.
She ended by saying that not long ago that person was her, and it was scary to ask for help. But if she didn’t, she wouldn’t be where she is today. It is very important for those going through addicting feel comfortable asking for help. It’s that first step in recovery for the rest of your life.
If you or a loved one suffers from substance abuse, or you just want to enjoy some great music while helping an even greater cause, get your tickets – they go on sale Friday, August 21st at 10a.m. (local time).
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August 19, 2026UncategorizedLive at The Rady Shell
August 19th, 2026 Review by Fatima Kelley
The city was full of PDA tonight as a sold-out crowd welcomed Interpol back to town at the gorgeous Rady Shell located downtown on the picturesque San Diego Bay.
It was a perfectly crafted evening where moody and melancholy music danced hand in hand to the glittering downtown skyline reflecting on the water; an evening so perfect even the moon seemed inclined to offer a slither of a smile.
The night started off with Julie, a Noise rock trio from Orange Country. Their balance of ethereal soundscapes, grinding guitars, and skull-pounding drum beats were the perfect musical appetizer for the evening. This was my first introduction to the band, and the performance was impressive. Their nine-song setlist definitely piqued my curiosity and left me wanting more.
While I could pick up some influences from Sonic Youth and the Breeders, Julie managed to create a sound that is truly their own and seemed like a perfect fit to Interpol’s style.
Watching the opening band capture the attention of a sold-out crowd and turn them into new fans was truly a testament to their remarkable stage presence. I left the show curious and where to hear more of their music.
After a brief stage changeover, Interpol was introduced by San Diego’s own skate legend and longtime fan, Tony Hawk, who stated he will only retire once Interpol stops touring. Neither I nor the crowd that cheered the speech is ready for either of them to call it quits anytime soon!
Interpol took the stage as it was infused with fog, instantly allowing fans to be submerged in the music. The shell shaped stage perfectly cradled the atmosphere, creating an intimate discourse between stage and crowd. The lights warmed up as the music intensified, then switched back to cool shady blues while the music eased up, all magnifying the beautifully rhythmic dynamics that Interpol’s music offers.
They opened with “This Mirror Weights a Ton,” one of the four new songs from their upcoming studio album of the same name and due out August 28th.
I loved this song immediately when it was released a few months ago, but hearing it live made it much more special. It slowly builds up, dragging you further in note after note. Its rhythm steadily forcing your feet to march while eloquent guitar riffs undulate your body, leaving you lulled as if by surrounding waters until you find yourself completely buried in the sound.
They played “C’mere” from 2004’s “Antics,” which proved to be a crowd and pit favorite. The steady repetition of its guitar riffs is so hypnotic, and its bass line holds you captive. It was followed by “No I in Threesome” from “Our Love to Admire,” which I still consider one of their best albums, although possibly the most underrated.
They followed this with “All the Rage Back Home” and it was very difficult to walk away from the pit while this song was playing. I think I fall in love with Interpol a little more each time I hear this song and kudos to Matt Barrick of The Walkmen who is filling in on drums for Sam Fogarino. Fogarino’s shoes are really tough to fill but Barrick infused this song, and the entire evening, with his own magic.
“Rest My Chemistry” was another fan favorite of the night, its bass line forcing everyone’s feet to dance and its guitar riffs moving you.
Paul Banks’ voice felt particularly haunting and rich in this song. They followed this with two new songs, “See Out Loud” and “Wings on Fire,” from the upcoming album.
The band took us back to 2014 with “My Desire” from “El Pintor,” then back to 2004 with the always crowd pleasing “Evil” where Brad Truax’s haunting bass lines seems to echo from within. Then they jumped to 2007 with my favorite, “Pioneer to the Falls.”
This is one of the most musically eloquent songs I think I have ever heard. Daniel Kessler’s guitar twinkles of interstellar magic, strategically mimicked by the light design where mini spotlights floated across the back stage and roof of the shell.
Interpol’s music is so exquisitely baroque, rich, and full of layers and movement. Tonight’s set lists a continuous progression of crowd favorites where you could easily hear fans singing along to old and new tunes alike – a crowd that was screaming for the encore, and after the encore was left wanting even more.
“Narc” and “Obstacle 1” took us all the way back to the beginning to pull us straight into the future with “Iron City,” another from their upcoming release.
They ended the show in full magic with “Roland” and “Slow Hands,” which always gets the entire crowd dancing. The band came back to the stage with an encore that somehow just seemed to top it all – “NYC” followed by “Take You on a Cruise,” and then “PDA.”
If you have a chance to catch Interpol live, do so because they certainly won’t disappoint. Be sure to pick up their album when it drops later this month as well, plus visit the band’s website for details on listening parties for “This Mirror Weights a Ton” to be held August 20th.
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by Kelley Photography
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August 19, 2026UncategorizedBrings Heart, Soul & Pure Joy to Chula Vista
August 18th, 2026 Review by Joey Clark
There are certain artists you go see because you want to hear the songs that served as the soundtrack to your life. Then there are artists you see because you want to witness what happens when decades of experience, technical mastery, and genuine passion collide on a stage. Santana’s performance for their Oneness Tour at North Island Credit Union Amphitheatre was the best of both worlds.
“Legend” is a word that gets tossed around far too often these days, but when it comes to Carlos Santana, legend is an understatement. The Latin artist has crafted hits throughout his storied career and is highly respected by his peers.
The Grammy Award winner’s career has spanned more than half a century, and it would be easy to approach a show like this as a run-of-the-mill tour stop. The songs are there, the audience is ready, and the legacy speaks for itself. There is certainly no shortage of legacy acts who appear to be going through the motions, collecting a paycheck while relying heavily on the nostalgia attached to their catalog.
Carlos Santana wasn’t interested in doing that. From the moment he took the stage, there was an unmistakable sense that Santana genuinely wanted to be there. More importantly, he seemed genuinely grateful that the audience was there with him. That love for the audience was arguably one of the most memorable parts of the entire evening.
Santana’s playing has always been technically remarkable, but what continues to separate him from so many of his peers is the emotion behind every note. His guitar doesn’t simply demonstrate what he is capable of playing; it seems to communicate what he is feeling. On this night, that passion felt more vibrant than ever and the audience could not help but notice.
August 11th, 2026
There was a collective sense of awe throughout the performance as Santana and his band moved through a catalog that has influenced generations of musicians. Songs that many of us have heard countless times suddenly felt alive again, transformed by a band that has no interest in treating these compositions like museum pieces.
And then there is Santana himself.
Watching him play is a reminder that technical ability and emotional expression don’t have to exist independently of one another. He can execute with the precision you would expect from a musician of his caliber, but there is always something more underneath it.
A bend of a note, a sustained tone or a particularly intricate bar can feel less like a display of virtuosity and more like Santana is simply letting the music move through him. That distinction matters in a world of soulless shredding that fails to illicit emotion. It was evident when you were swept up in the intrigue of “Black Magic Woman,” felt the uncontrollable urge to dance with “Oye Como Va,” or vibing out to “Evil Ways.”
It’s one thing to watch a legendary musician reproduce the songs that made them famous. It is another thing entirely to watch that musician perform those songs with the same sense of wonder and excitement that made audiences fall in love with them in the first place.
The musicianship throughout the evening was exceptional, and the crowd was visibly blown away by what was happening in front of them.
Santana’s band is filled with players capable of keeping up with the demands of his music, navigating the intricate fusion of rock, Latin rhythms, blues and jazz that has defined his sound for decades.
It was also impressive to witness standout solo moments for the heartbeat of the band, Cindy Blackman Santana, Carlos’ wife and longtime drummer, as well as one from keyboardist and vocalist, Salvador Santana, his son.
Carlos was beaming with pride seeing his family members perform to the absolute best of their abilities.
But despite all the technical brilliance happening onstage, the evening never felt like a flat, calculated clinic. It felt like a celebration of Santana’s vast catalog. That may have been the most refreshing part of the entire night.
He wasn’t standing onstage asking the audience to admire his accomplishments – he was inviting everyone into the experience with him. In the middle of his set, he proclaimed that we are “One heart. One people.”
His kind heart was further showcased when he spoke with conviction about the fear so many people have about our neighbors to the south in Mexico. Santana stated, “Walls are for people who are afraid, there’s no need to be afraid. Let’s change the narrative and the paradigm. I wish for every one of you good health, peace of mind, and joy. God bless you.”
By the end of the night, it was impossible to miss just how much the audience had been affected by the performance. The cheers weren’t simply the reaction to hearing familiar songs – which included “The Game of Love,” “(Da le) Yaleo,” “Put Your Lights On,” “Foo Foo,” and of course, “Smooth.”
They were reactions to musicianship, passion and the unmistakable feeling that the artist standing in front of them still loves what he does.
Santana could have easily treated this chapter of his career as an opportunity to coast on an incredible legacy. Instead, he showed up with heart. That is what makes Santana so special.
The technical ability is undeniable, the catalog is legendary and the influence is immeasurable, but none of that would matter nearly as much if the passion wasn’t still there. On August 11th in Chula Vista, it was.
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Photos by Highway One Photography
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August 14, 2026UncategorizedMAKE A SPLASH
at ALT 98.7’s Summer Pool Party
August 14th, 2026 Review by Joey Clark
ALT 98.7 closed out the summer with the ultimate pool party! Longtime listeners and devoted fans battled the nearly 100-degree heat poolside at Yaamava’ Casino and Resort to experience an intimate performance by The All-American Rejects.
With the performance set two hours after doors, most radio aficionados in attendance took full advantage of the pools near the stage to cool off. Then there were the barricade warriors who decided to take on the heat with pure dedication by standing their ground from the time of doors. When asked how long these passionate fans had been waiting, many stated they had lined up hours ahead of doors to have a shot at landing a coveted spot in the front.
Whether you were a fan soaking in the pool or roughing it against the barricade, everyone was collectively enjoying the pre-show.
DJ Regul8 was enthusiastically bumping the alt hits we all love and the fun antics of ALT 98.7’s afternoon dynamic duo, Booker and Stryker, were hyping up the crowd for the stars of the night,
The All-American Rejects. The crowd sang along to songs being blasted over the speakers as a flurry of ALT 98.7 beach balls danced around the onslaught of AAR fans reliving the glory days of the mid-2000s.
Anticipation was building as the clock struck 8 p.m. Fans were darting their heads around attempting to locate the pop punk act. I noticed a door on the left of the stage had opened up, and then, out poured The All-American Rejects, hungry and ready to pounce on the stage. Before the boys took command, Booker and Stryker reemerged to give the band a proper introduction.
The band seemed like an absolute no-brainer to center the evening around for a variety of reasons. Not only did they release their first record in over a decade with “Sandbox,” but their cultural impact on the music industry as of late has been incredible.
Their outspokenness and commentary about the industry when it comes to ticket pricing, tour logistics for budding new artists, and corporate greed has been eye-opening.
In the past year, the band has stood by their words and taken it upon themselves to travel across the United States on their own dime and play a multitude of third spaces on the recommendation of their manager, Megan Kraemer.
On top of that, frontman Tyson Ritter and startup veteran Brian Battjer have developed PlayHouse, a platform to connect musicians with alternative venues. If there were any doubts of why The Rejects were the band selected for this truly special evening, they were squashed immediately.
The band kicked off their set with the sonic punch of “Easy Come, Easy Go” from “Sandbox.” Everyone was instantly hooked and sang the song back as if they had it engrained in them for the last decade. It was easy to recognize why the track had been the band’s first song to make the Alternative Airplay chart since 2009 – it was absolutely infectious.
The night proceeded with a variety of songs from their entire catalog which might be an advantage of having five studio albums. They’re able to dial in solid offerings off each record and gift that to each era of their fanbase, which is not something every band is capable of doing. “Sandbox” cuts like “Get This” and “King Kong” wove seamlessly into the framework of the set.
You can audibly hear an evolution of The Rejects’ sound from “Swing, Swing” off the self-titled debut, to “It Ends Tonight” from “Move Along,” jumping ahead towards a song like “Fast and Slow” from “Kids in the Street” to the latest material, but they all co-exist beautifully.
There was never a dull moment, especially when you have Ritter as a frontman with devilish, yet charming sense of humor. About midway through the set, Ritter had addressed the pool closest to the stage and had said their sound tech said to be careful of splashing, hilariously mocking the very notion to keep down the splashing and egged them on to keep doing it. They did as the barefooted singer requested.
Following a few more songs, Ritter took a moment to joke, “See if waterproof cameras didn’t exist you would all be like oh, oh, oh shit. Fucking iPhones.” Everyone cackled at the antics, but it was also pleasant to observe those who read between the lines and stowed away their phones to just simply take in the rest of the show as it was meant to be – a communal end to the summer.
What impressed me the most about the show, outside of hilarious antics, was the pure musicality of the band. While The Rejects may come off as scrappy and unpolished, their delivery is as solid as any another longstanding act amongst their peers.
Ritter has continued to reach new heights as a vocalist not only in the studio but live as well. In an instant you recognize his vocals and they command attention like no other, all the while providing a sweet low end thump when armed with a Serek Lincoln or Epiphone Thunderbird bass.
Co-founder, guitarist and backing vocalist, Nick Wheeler is an absolute joy to watch perform, his energy is prolific and it’s amazing to witness him and Ritter bounce off one another knowing they’ve been building this band together since they were in high school.
Guitarist Mike Kennerty is like Crash Bandicoot with a guitar in his hands; he absolutely doesn’t let off the gas when he’s lost in his performance and gives the audience a spectacle to take in and is a blur of hair and a guitar. With Chris Gaylor, you get more than a drummer; you get a true marksmen of tactical precision truly enjoying every moment behind his drum kit.
The evening came to a close with the anthem “Gives You Hell.” It felt like a stadium-sized moment being lived out on the pool deck at Yaamava’. Audience members sang along in unison throughout the duration of the song and the concertgoers in the pool splashed vigorously to their heart’s content, giving it all they had left before the night was over.
The All-American Rejects are one of the best acts out there today and I cannot recommend it enough to catch a performance of theirs next time they’re in town. You will absolutely be blown away!
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by Highway One Photography
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August 12, 2026UncategorizedI BUILT YOU A TOWER TOUR
Live at The Greek
August 12th, 2026 Review by Stuart Karpel
To capture the essence of a Death Cab for Cutie concert, try to think back to the first time you truly felt free of responsibility. Whether that brings you back to memories of an unforgettable vacation or the innocence of childhood, that feeling of pure freedom is the perfect way to describe seeing the band live.
Last Sunday, more than 5,500 people from every corner of Los Angeles gathered at the Greek Theatre to experience Death Cab live and it was unlike any other that this venue has seen before. From the incredibly unique sound of Ben Gibbard’s singing voice, to the hum of instruments that climbed miles up Mount Hollywood, every song from their 24-track setlist sounded incredible.
The large stadium and stage – and the hills behind it – have seen countless artists since its opening in the ‘30s. Elton John, Liza Minnelli, Frank Sinatra, and so many historical performances have taken place here, and it remains a desired location even now. In other words, it’s not a shock to see a band as big as Death Cab featured on the marquee, marking the 17th show of their summer tour.
Opening the show for the capacity crowd was Brooklyn’s own, Nation of Language. This Indie Synth-Pop trio took the stage by storm. The band consists of Ian Richard Devaney (guitar and lead vocals), Aidan Noell (backing vocals and keys), and then there’s Alex MacKay (bass). It is simply amazing how much noise three people can make without a drummer.
Their sound and vocals were sharp, and the early birds appreciated their energy. Apparently, there were New Yorkers in the crowd that knew their set. Opening with “A New Goodbye,” “September Again,” and “In Your Head.” Devaney and Noell had great chemistry and MacKay could really slap the bass.
The crowd sang along to “Weak in Your Light,” “Inept Apollo,” “The Wall and I,” and before you knew it – they were walking off to “Across That Fine Line,” The crowd was very happy with their performance, there were chants of “Gouge Away,” a Pixies cover that their fans wanted them to play. Perhaps the next time we see them they will play a longer set.
After a brief intermission, the crowd was ready to see Death Cab. The band’s 2026 summer tour is in support of their new project, “I Built You a Tower.” Just like in a music video, the lights dimmed, the crowd roared and out came the band.
The band was ready to go. They opened with a couple of chart-toppers, “Full of Stars” and “Riptides,”
It was not surprising to see so many fans sing along as the group played their hearts out.
The setlist featured seven songs from the new album, five songs came from the 2005 album “Plans,” and the remainder were from various time periods of their discography. The new album is their most technically-sound project yet, and fans seem to agree as some tracks have reached more than three million plays.
Once the sun fully set and the band reached the middle of their setlist – performing “Black Sun,” “Photobooth,” and “Summer Skin” – they slowed down the mood to allow Gibbard to play everyone’s favorite acoustic solo, “I Will Follow You Into the Dark.”
The fans and band alike swayed and cheered every melody throughout the night, like palm trees whistling in the wind in unison. Although the Los Angeles city life that surrounds the Greek is known to be bustling and full of hustlers, it felt like the entirety of the city stopped to listen to Death Cab, as people passing by the stadium rolled their car windows down rather than listen to the radio.
By playing more fan-favorited tracks, like “Cath…” and “Crooked Teeth,” the group knew that it was time to bring out the big-guns for the upcoming finale. This was not the time of the night to hit the merch line or bathroom!
With the band’s amazing performance almost reaching the two-hour mark, they decided to end the set with “No Sunlight,” “Here to Forever,” and “Soul Meets Body.”
This seemingly did not feel like the end of the show though as the eager energy of the fans itched for more anthems, clapping and cheering loudly to give the band the flowers they deserve.
As the band walked off stage, the stage crew began to wrap up the auxiliary cables, but the cheering felt endless. Only two minutes after they had bowed and thanked everyone for coming to see them perform, they felt compelled by the fans’ roar of enjoyment and appeared back on stage to everyone’s surprise.
Their encore consisted of “Title Track,” “Transatlanticism,” “Marching Bands of Manhattan,” and ironically, “A Movie Script Ending” to truly end the movie-like concert.
Not only did it fulfill the wishes of super fans and everyday concertgoers to see the band back onstage, it greatly represented the ideals of why the band decided to go on tour in the first place: Connection with their fans.
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by Highway One Photography
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August 11, 2026UncategorizedINDUSTRY REPORT # 70
OC’s NEXT BIG HIT!
August 12th, 2026 by Jimmy Alvarez & Clara Amaris Becker
For decades, Southern California has been a destination place for people worldwide. For Orange County, Disney, and OC sports teams – such as the Ducks and Angels, along with NCAA basketball tourneys – have brought people here for more than fun in the sun.
Equally, the OC’s vibrant music scene has been a big part of its colorful entertainment legacy. Places like Irvine Meadows, House of Blues, Honda Center, Five Point Amphitheatre have delivered unforgettable moments. Now, Great Park Live is ready to take center stage as part of the new entertainment hub that is about to explode.
Earlier this week we had the opportunity to chat with Cory Hilderbrand, Deputy Director of Community & Library Services at the City of Irvine, and Melissa Haley, Director of Communications & Engagement also at the City of Irvine. Both have been instrumental in bringing the vision of the Daisy Chain Fields to reality. It is clear that the entire city team put a lot of blood and sweat into it to not only make this event happen, but to create an atmosphere at this facility that is nothing short of top notch.
In putting this story together, we had to go back in time and address what led us to where we are today. The legacy of Irvine Meadows and Five Point Amp had great successes; but it also provided lots of learning experiences. As a result, delivering a venue that put consumer experience at the top of the list while being a good neighbor to the locals turned out to be equally important. I was impressed how each of these city executives were on the same page when describing the journey to where the venue is today. Lots of preparation, listening, learning, and evolving were and continue to be important to the City of Irvine.
GPL is laid over a sprawling 500 acres with unbelievable community and music venue amenities. The layout allows for multiple stages and an open floor format that can be converted to open and festival seating. Most impressive, the festival floor plan can be adjusted to accommodate up to 45,000 crazed concertgoers.
The care they put into GPL is evident. I asked how important it was to them to keep the OC feel top the venue while taking into consideration what concertgoers want and keeping the look appealing to the locals. Hilderbrand was honest and sincere – he said, “I think it was very important. I think that’s one of the things that we hear probably the most that compliments that we get of that facility is that it still feels like a park-like setting. It’s not. An industrial type of amphitheater. Irvine Meadows was great, but it all the seats and it felt like an amphitheater where Great Park Live really has that open air feel and the natural grass, the views of the balloon, which is obviously an iconic feature of Great Park.”
With a new venue in place, the first mega event coming to GPL is Daisy Chain Fields on August 29th, and tickets blew out like wildfire once they went up. The festival comes to us from the heart and soul of Olivia Rodrigo. She too went through a journey that inspired this sonic vision. Truth be told, a vision is one thing, making it reality is another. I asked Hilderbrand what it was like to work with Rodrigo’s team. He said, “They have been absolutely fantastic to work with.”
August 29th, 2026
I asked if it was fair to compare this festival to the ‘96 super-fest, Lilith Fair. Given today’s hyperbolic political environment, it is difficult at best to promote any topic that doesn’t draw the ire of somebody. So far that hasn’t been an issue. It was expressed that all people’s rights to express themselves is always recognized and respected. This event will respect all, and security will be provided to ensure that all parties attending will enjoy a non-confrontational festival. For that,
I applaud their effort to keep the peace no matter what. For those with inquiring minds, there will be plenty of security inside the venue and outside of it. That said, the festival will provide a platform for charities and organizations that provide services to women – including reproductive rights. In the Philanthropy Village there will be booths that will provide education, dialogue and community engagement for women. Proceeds from the show will go towards these charities – which translates to the ticket you purchased matters.
As for the show itself, there are some definite heavy hitters. The aforementioned Olivia Rodrigo will be showcasing her larger-than-life musical spectacular.
Artists that are “IT” right now, including Chappell Roan, Doechii, KATSEYE, and Santigold.
Also on the bill will be Shirley Manson and her uber-alt rocker mates known as Garbage.
Another female fronted band will include the legend Kim Deal and her mates The Breeders.
Concertgoers will also experience the sights and sounds of The Yeah Yeah Yeahs’ lead crooner, Karen O, the legendary Fleetwood Mac vocalist, Stevie Nicks, and if that’s not enough, Lilith Fair founder, Sarah McLachlan will also take the stage.
Other bands to look out for include punk rockers, Bikini Kill. There’s the electrifying sound of Die Spitz, and Mitski will definitely bring the boom.
There are a number of other bands playing that will entertain you from beginning to end. For those attending, here are the set times:
A few things a concertgoer may notice immediately is the aesthetic look of the venue and how it is uniquely Orange County. The look, feel and vibe it gives is like no other venue you have ever been to.
Because the City of Irvine has considered every angle to make it the best experience possible, they have worked out details with OC Vibe and UC Irvine to provide additional parking and shuttle services. Here’s a link if you want to take advantage of the offsite services.
PARKING | SHUTTLE
As for what to expect, a full day of great music, lots of information that women can take in to help them navigate life in 2026. I asked Hilderbrand and Haley if this is just the inaugural event with more to come down the road. They said they will see how this one plays out, but they also seemed very optimistic that this one will not only be a festival to remember, but a festival that matters beyond the music. Women standing up for things that matter to them, just like their Lilith Fair sisters did.
The music landscape for Orange County looks very bright. With the launch of OC Vibe, other established venues, and GPL taking off, the OC will definitely be an entertainment juggernaut we can all benefit from.
For those not familiar with the area, here is the site map:
Bottom line, Great Park Live is a class act from top to bottom – Daisy Chain Fields will showcase what the world of music in Irvine will look like for years to come
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August 10, 2026UncategorizedNorth American Tour Comes to Anaheim
August 10th, 2026 by Kaitlin Pinell
It’s time to break out the beaten-up Converse, emo eyeliner, and hair straightener because Sleeping with Sirens is bringing their An Ending in Itself Tour to Orange County.
The tour follows the June release of the band’s eighth studio album, “An Ending in Itself.”
Fans have already shown the love for “Forever/Always,” “House of Matches,” and “Paralyzed.” The album features the band’s signature post-hardcore sound with strong vocals from Kellin Quinn and easily digestible melodies.
Will Yip, the album’s producer, is known for work with iconic alternative bands including Turnstile, Circa Survive, Panic! at the Disco, and Title Fight. Yip delivers with the bands’ signature sound.
You must be thinking, “Did I just wake up in 2010? Sleeping with Sirens is touring?” and the answer is, “Yes!” The past five years have been a big deal for the rock scene, with iconic 2000s bands – including My Chemical Romance, Pierce the Veil, Fall Out Boy, and Sleeping with Sirens – being incredibly active.
With the band fresh from playing with Pierce the Veil on their 2025 I Can’t Hear You world tour, and in Long Beach for this year’s Vans Warped Tour, fans can expect a set pulling heavily from their newest album while still sprinkling in some classics from “Let’s Cheers to This,” “Madness,” and “With Ears to See and Eyes to Hear.”
The Florida rockers have stops throughout Canada and the United States, including our very own House of Blues Anaheim, and ending on their hometown stop in Orlando for an appearance at Warped Tour.
International dates roll around early 2027 in France, Switzerland, Germany, and the UK.
Lending support is openers Rain City Drive, Shyeye, and Hate It Here. Tickets for the tour are on sale now. Go out and get them for this one, especially if you like your music loud and electrifying.
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August 9, 2026UncategorizedReplaces Joan Jett with All Washed Up Tour
August 9th, 2026 by Traci Turner
Fans hoping to see the Queen of Rock, Joan Jett, will unfortunately miss their chance this summer, but can catch some other rock idols.
Jett’s team announced: “Following a recent injury, Joan Jett has undergone orthopedic surgery on a fractured vertebrae and will begin the necessary healing process. In close consultation with her doctors, Joan will not be able to perform at her forthcoming September scheduled shows, including a Sept. 5 concert at Pacific Amphitheatre.
While Joan hates to disappoint fans, she will be taking this time to focus on physical therapy and healing. She’s looking forward to delivering tremendous concerts for many years to come.”
Pacific Amphitheatre has announced that Cheap Trick, and special guest X, will replace Joan Jett & The Blackhearts for the September 5th show.
Rock and Roll Hall of Famers, Cheap Trick will bring their classics along, such as “Surrender,” “Dream Police,” “Ain’t That a Shane,” “She’s Tight,” “The Flame,” “Don’t Be Cruel,” and the mega hit, “I Want You to Want Me.”
The Illinois rockers formed in 1973 and still contain original members Rick Nielsen, Tom Petersson, and Robin Zander.
The band has become a family affair with sons Daxx Nielsen and Robin Taylor Zander jumping into the gang on tours.
X is as LA as they come and no stranger to the OC. Another band still full of originals, John Doe, Exene Cervenka, Billy Zoom, and D.J. Bonebrake will provide the soundtrack we love thanks to “Los Angeles,” “The New World,” “Hungry Wolf,” “4th of July,” “Breathless,” “White Girl,” “New Life,” “Wild Thing,” “Devil Doll,” and “Johnny Hit and Run Paulene.”
Considered punk rock royalty, X is not only punk rock legends, but they are also walking, living and singing punk rock history. This is a band you want to see while you still can.
Tickets are still available, so do not miss your chance to see two true original bands in your backyard.
We wish Jett the best for a speedy recovery!
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August 6, 2026UncategorizedReturn to Pacific Amphitheatre
August 6th, 2026 by Clara Amaris Becker
On September 6th, Boy George and Culture Club will take the stage at Costa Mesa’s Pacific Amphitheatre, the outdoor venue tucked inside the OC Fair & Event Center. The 7,850-seat venue will host their final show played in the U.S. before they head overseas.
Nearly 45 years after becoming one of the biggest names to emerge from London’s new romantic and new wave scene, Culture Club has become one of the most iconic staples of ‘80s music.
Boy George still brings all the stage presence and theatrics of his youth. He’s joined onstage by original Culture Club members Roy Hay on guitar and keyboards, and Mikey Craig on bass.
The band broke through with the 1982 album “Kissing to Be Clever,” then exploded into global superstardom with their quadruple platinum status album “Colour by Numbers.”
They’re best known for the multi-platinum smash singles such as “Karma Chameleon,” “Do You Really Want to Hurt Me,” “I’ll Tumble 4 Ya,” “It’s a Miracle,” “Miss Me Blind,” and “Church of the Poison Mind.” if we’re lucky. maybe even some of his later solo work, “Bow Down Mister,” or “Everything I Own.”
Although they’ve weathered a few breakups and reunions, their songs have never left the public’s mind. They’ve graced every playlist dedicated to the ‘80s since the band’s conception.
The Pacific Amphitheatre show lands midway through a packed 2026 for the band. They performed across the United States in February and March and will continue on to Canada and France before finally heading back to the band’s origins with UK dates in December titled The Singles Tour.
For many, it’s a chance to hear a band perform the songs that helped define a generation.
For one night in Orange County in early September, the ‘80s aren’t going to be a throwback or a themed party; they’re just my Sunday night plans.
We can all see firsthand why everyone says the ‘80s had the best dance music ever. Tickets for this show are available now!
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August 5, 2026UncategorizedLive at The Belasco
August 5th, 2026 Review by Bruce R Kilgour
When it comes to new wave / modern rock bands from what is affectionately described as the “MTV era,” a few things are often true. First, said bands rarely have all their classic period members and second, rarely can they boast having eight major hit songs. The Fixx, after 43 years can say both. All five of the band members from their 1983 hit album “Reach the Beach” are still in the band today: vocalist Cy Curnin, guitarist Jamie West-Oram, keyboardist Rupert Greenall, drummer Adam Woods, and bassist Dan K. Brown.
Just over halfway through their U.S. summer tour, The Fixx brought their career-spanning show to The Belasco on July 30th, with special guests Ozomatli supporting them on this evening.
Los Angeles natives Ozomatli opened the night with an exciting 60-minute set featuring their most well-known material.
The six core members of the band (together since their debut album in 1998) were joined by former member Kanetic Source on rap vocals for almost half of their 14-song set.
Kanetic only joins Ozomatli occasionally, so this was quite a treat for both him and long-time fans.
Ozomatli has always been impossible to categorize, as their music is a blend of salsa, jazz, funk, reggae, hip hop and rock, and all these genres were represented in their set.
Although they are known for their outspoken social and political activism, such banter was noticeably kept to a minimum on this evening. As they have frequently done for several years, the band ended their set with “Como Ves” (from their debut album) and marched through the audience with their horns and percussion.
This show had originally been advertised as having beloved New Jersey rockers The Smithereens as the opener, and there were several fans in attendance unaware of the revised bill. However, Ozomatli certainly won over the crowd, as this reviewer has seen them do at many shows over the past few years.
Hitting the stage with a cool intro loop, The Fixx opened with the title track from their 2012 LP “Beautiful Friction.” The ageless Curnin moved hypnotically in his casual white suit, immediately engaging the packed Belasco. Introducing the next song “How Much Is Enough?” he stated that, “How much more can we take is really the question!”
The first big hit of the night was next, their 1982 debut single “Stand or Fall,” followed by the deep cut “Are You Satisfied?” I should note that a “career-spanning” set by The Fixx means performing at least one song from all 10 of their studio albums, not a common occurrence from legacy modern rock bands these days!
The chart-topping “Secret Separation” from 1986 provided a huge singalong from the crowd, as did the first track performed from “Reach the Beach” a few songs later, “Opinions.” For “Driven Out,” Curnin played some sharp rhythm guitar, and made his first politically charged comment of the night regarding government spending and musing, “Crisis? What crisis?”
Following a few deeper tracks, “Built for the Future” and “Shaman,” it was time for their best-known and highest charting single, “One Thing Leads to Another.” Following a brief introduction from Curnin in which he stated that, “Even more elections are coming up… blah blah blah,” West-Oram stepped forward and played the familiar slashing guitar chords that lit up MTV back in 1983.
Next up was the coolest song from the 1984 film “Streets of Fire” soundtrack, the hit “Deeper and Deeper,” which featured a blazing solo from West-Oram. Ending the main set was another great audience participation track, the enormous modern rock hit “Red Skies” featuring the catchy “oh-oh-oh” chorus and Greenall’s snaky synthesizer riffs.
After a group bow and a brief exit, The Fixx returned with “Are We Ourselves?” and the introspective “Happy Landings,” which Curnin dedicated to “my late mother, and all mothers past, present, and future.”
Ending the 90-minute set was their very first hit from 1982, “Saved by Zero,” featuring great interplay from the rhythm section of Woods and Brown.
The Fixx continue to thrill audiences with thoughtful (and still timely) lyrics and the tight musicianship that can only come with more than four decades of constant touring. Next up for the band is an East Coast tour encompassing the entire month of September.
SHOW PHOTO GALLERY
by Highway One Photography
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August 5, 2026UncategorizedAt the Pacific Amphitheatre
August 5th, 2026 Review by Kaitlin Pinell
When the heat of the summer is in full swing, some people have no choice but to make the trek out to the OC fairgrounds in Costa Mesa. They can ride attractions with names like Devil’s Boneshaker or Panky’s Revenge, gobble down some over-the-top deep-fried food, and enjoy the people watching. But the OC Fair also has amazing concerts throughout the summer, making for excellent entertainment any night of the week. On this day, it was Sugar Ray, Smash Mouth, and Tonic providing the soundtrack to the summer night.
Tonic was a band I had never even heard of, but as their set progressed, songs like “You Wanted More” and “If You Could Only See” captured me.
To start things off, Tonic frontman Emerson Hart said, “Let’s go back to 1996.” Tonic is celebrating the 30th anniversary of “Lemon Parade,” the album that gave us “If You Could Only See” and “Open Up Your Eyes,” two of their biggest hits.
With the strum of their opening riff to “Open Up Your Eyes,” the crowd quickly started to fill in. People with facepaint and jumbo-sized kettle corn migrated from the fairgrounds and found their seats, while others who were just at the Amphitheatre for the show purchased their last beers and tacos to settle in for the night.
The band’s strong but melodic sound grabbed everyone’s attention and warmed up the crowd as the sun started to set. “It’s a beautiful night for rock and roll,” Hart said.
Tonic paid homage to Queen and Fleetwood Mac by covering “Fat Bottomed Girls” and “Go Your Own Way.” These surprise covers became a theme as the night progressed.
“It’s like a family reunion backstage,” Hart mentioned. This wasn’t the first time these bands have played together; Tonic played with Sugar Ray and Better Than Ezra in 2024 while Smash Mouth and Sugar Ray have been sharing the stage for decades, including 2013-2014’s Under the Sun tour that celebrated ‘90s alternative pop-rock.
Of course, anywhere that Smash Mouth is, the Shrek fans will materialize. People with Shrek ear headbands and shirts with “Do you know the muffin man?” printed on them were plentiful, walking around the stadium and showing their dedication.
Smash Mouth’s set was funky, fun and brought the energy with “Pacific Coast Party,” “The Crawl,” “I’m a Believer,” and a firework finish with “All Star.” Even from the very beginning of the set, lead singer Zach Goode was a whirlwind onstage. (Goode took over after original frontman Steve Harwell retired in 2021, before Harwell passed away in September 2023.)
Keyboardist Michael Klooster was going crazy throughout the set. I feel like it’s difficult to have much movement behind a stationary instrument, but he was absolutely killing it, dancing and playing the keys in a big way. Although Goode was running around from each side of the stage, Klooster often drew my attention away from the lead vocalist, which is a hard thing to do.
Smash Mouth played fan favorites like “Can’t Get Enough of You Baby,” “Walkin’ on the Sun,” and “Ride On.” The crowd went crazy for “Why Can’t We Be Friends” by War, and seemed to really enjoy the various Shrek clips, which had everyone up and dancing on their feet. Their set ended with drummer Randy Cooke throwing his sticks out into the crowd and leaving everyone buzzing and ready for Sugar Ray.
Once Sugar Ray appeared on stage, the crowd went nuts. “It’s good to be home,” frontman Mark McGrath said with a proud smile. He was met with loud cheers and people on their feet immediately, ready for the band’s feel-good vibes.
They played a long list of hits including “Words to Me,” “Every Morning,” and “Answer the Phone.”
McGrath referred to the atmosphere as a “’90’s nest of trust,” playing short bits of “No Scrubs” by TLC, “How Bizarre” by OMC, and “I Want It That Way” by the Backstreet Boys to celebrate the night’s overarching theme of covers and summer nostalgia.
My favorite part of the show was when they played my two favorite songs back-to-back: “Someday” and “Into Yesterday.” Sugar Ray wrote “Into Yesterday” for the 2007 animated penguin surfing movie, “Surf’s Up.” That movie was a big part of my childhood and is one of the main reasons I started listening to Sugar Ray.
They sounded incredible and McGrath still sounds just as he did 30 years ago. The acoustic guitar intro for “Someday” pulled at my heartstrings, and the crowd sang along the entire time.
During “When It’s Over,” McGrath walked out and did a lap around the amphitheater, giving high fives, hugs, and taking selfies with fans. After his return to the stage, he mentioned how cool it was to see people wearing shirts from other Orange County bands – T.S.O.L., Social Distortion, and No Doubt – showcasing how many different types of music lovers bond over Sugar Ray’s summer feel good jams.
It was a cool summer night in Costa Mesa with some of the 2000s most popular bands, and a hell of a time to celebrate 30 years of Sugar Ray, Smash Mouth, and Tonic.
SHOW PHOTO GALLERY
by Shane Pase Photography
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