Publication Date May 9, 2026
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May 7, 2026UncategorizedDELIVERS A SONIC MASTERPIECE
May 7th, 2026 Review by Amberlee Meyer
Since 2019, the BeachLife Festival has been drawing more than 11,000 people to beach in Redondo for a three-day music celebration. Each day is packed with talent as diverse as the families, friends, and fans attending. With four stages of bands performing, it was easy to find something for everyone’s musical taste.
Sure enough, it took no time for the crowd to roll in a fill every stage area. As soon as the bands were ready to play, fans were ready to do what fans do, lose their minds!
On day one, catching Jen Pop – Jen Razavi from pop/punk band The Bombpops – at the Speakeasy stage was at the top of my list. She’s got the best scream in punk rock since Kim Shattuck of the Muffs and wowed festivalgoers with a stripped-down acoustic set, performing original songs, Bombpop hits, and an epic cover of Pat Benatar’s “Love Is a Battlefield.”
On the LowTide stage, EDM giants The Chainsmokers got the crowd and vibe up from the moment they took the stage. It was by far the loudest set of the weekend, with ground-shaking bass and definitely the most fun crowd.
Performing hits like “Something Just Like This,” “#Selfie,” “Closer,” and “Roses,” it was as if they turned the beach into a giant open-air dance club, with the crowd jumping and raising their arms high, clearly having a great time. I saw families with young children making sandcastles beside the crowd and thought to myself, I wish I had grown up at the beach!
As I was walking to see headliner Duran Duran on the main stage, I happened to catch the last song from the San Diego-based garage rock band The Schizophrenics on the smaller Riptide stage. I wish I’d known more about them beforehand; they’re definitely a band I plan to explore.
The seminal ‘80s band Duran Duran was the headliner for night one, with Simon Le Bon on vocals, style master and synth player Nick Rhodes, bassist John Taylor, drummer Andy Taylor, and long-time guitarist Dominic Brown. The magic of the new wave and new romantic period of the ‘80s came alive in their set.
Having seen the band earlier this year at a different venue, I knew this show would be outstanding – and it was! The hit parade started with “Is There Something I Should Know?” followed by “The Wild Boys,” and then right into “A View to a Kill” from the James Bond film of the same name. By the time they played “Hungry Like the Wolf,” the crowd was fully engaged and singing along. They performed their latest single, “Free to Love,” a fast-paced pop song with Latin rhythms.
Also in the set were covers of ELO’s “Evil Woman” and Talking Heads’ “Psycho Killer.” The video show was outstanding, and the set was even better! They closed the show with “The Reflex,” “Girls on Film,” all fan favorites, and the biggest cheers came with the encore, “Rio.”
Other Friday artists included Grouplove, Flipturn, Fitz and the Tantrums, BØRNS, Willowake, Triple Bueno, The Only Bay Allstars, and Taft Buckley.
On day two, Sugar Ray was already on stage when I arrived, so I stopped and caught one of their big radio hits, “Fly.” They sounded great as I walked toward the Speakeasy to check out Jim Lindberg, singer of the South Bay punk rock band Pennywise.
Lindberg, a major contributor to the festival, handles booking artists for the Speakeasy stage and the Punk Rock & Paintbrushes Art Show. Longtime Hermosa Beach local Brian Bent was a featured artist this year; his inspiration comes from the life around him. As a beach kid, that meant skateboarding and surf culture.
Lindberg’s set was a mash-up of original songs like “Happy Endings” and many covers. His punk rock version of James Taylor’s “You’ve Got a Friend” was really fun, as was his cover of “Blister in the Sun” by Violent Femmes.
Mike Watt, a San Pedro local and founding member of the late-‘70s LA punk band Minutemen, performed a set of spoken-word segments and songs over driving bass riffs, which makes sense since he’s a revered bass guitarist. In fact, the Red Hot Chili Peppers dedicated their most successful album, “Blood Sugar Sex Magik,” to Watt.
Ocean Beach band Slightly Stoopid’s vibe matched the sunny Saturday afternoon perfectly, blending funky reggae, rock, hip-hop, and folk with a dash of punk party songs. Opening with the infectious song “Officer,” a mix of dub, hip-hop, and reggae got the fans up and dancing. The song “2 AM” got more people grooving throughout the crowd, totally into the music.
Playing hits like “Closer to the Sun,” and covers like “Jamaica Nice,” (a Yellowman song), were all fantastic, but the biggest highlight for me was watching them play Minor Threat’s “Salad Days” with Jim Lindberg on the mic!
Joan Jett & The Blackhearts drew a massive crowd, and this rock and roll rebel is as edgy as ever! Starting with “Cherry Bomb” – from her first band, the all-girl punk band The Runaways – she immediately grabbed the crowd’s attention!
Her set included hits like “Crimson & Clover,” a Tommy James & the Shondells cover, “Bad Reputation,” which had everyone going crazy, and of course “I Love Rock ‘n’ Roll,” another giant hit for Jett. I always enjoy a good cover, and her sped-up, rocked-up version of The Replacements’ “Androgynous” was phenomenal.
Ben Harper was next on my list, and he did not disappoint. His band, The Innocent Criminals, is extremely talented. They performed a beautiful vocal arrangement and offered a prayer before starting.
Harper is a master of the guitar; his lap steel playing is unparalleled. The set was more “sanctified” and featured more soulful gospel songs than I had heard from Harper’s past performances, but he did play “Steal My Kisses,” his most commercially successful song. Harper is a talent like no one else, and it was interesting to be introduced to songs I wasn’t familiar with, including “Diamonds on the Inside,” “The Will to Live,” and “Faded.”
The Offspring, as the main headliner on day two, closed out the festival with a hard-hitting, energized set. I’ve seen The Offspring more times than I can count in the past 35 years, and like many bands at the festival, they have so many hits – and they played them all!
Starting with “Come Out and Play,” they followed with “All I Want” and other classic hits, including “Bad Habit,” “Gotta Get Away,” and “Gone Away.” They also gave the audience a treat with a tribute to Ozzy Osbourne by performing “Electric Funeral / Paranoid” and “Crazy Train.”
The Offspring threw in some other interesting covers – “I Wanna Be Sedated,” Ramones, and “Hey Jude,” The Beatles – but then finished their set with their own hits: “Pretty Fly (for a White Guy),” “The Kids Aren’t Alright,” “You’re Gonna Go Far, Kid,” and “Self Esteem.”
Other bands included on Saturday were Switchfoot, Jason DeVore, Landon McNamara, Fortunate Youth, Water Tower, Bad Suns, PawnShop Kings, Easy Honey, Surfer Girl, and Makua.
Sunday had a mellow, almost reverent vibe, both in the lineup and the crowd, but when Sheryl Crow took the stage, it was clear she came to play! Now 64 and in the Rock and Roll Hall of Fame, she played all her biggest hits: “If It Makes You Happy,” “Everyday Is a Winding Road,” “My Favorite Mistake,” “All I Wanna Do,” “Can’t Cry Anymore,” and “Soak Up the Sun,” plus an excellent cover of “The First Cut Is the Deepest.”
She’s a talent beyond measure. Make no mistake, this singer-songwriter can seamlessly fit between rock, pop, and country.
My Morning Jacket, though billed as a Southern rock/psychedelic band, reminded me more of a mix of post-punk artists like Sisters of Mercy and the American psych band The Quarter After, with a touch of The Byrds. There’s no doubt that their guitar-heavy jams make this band interesting. The fans went crazy for “Off the Record,” “Golden,” “Victory Dance,” “Circuital,” and “Dancefloors.”
The main event for the last night of the festival was the iconic singer-songwriter, James Taylor. This is my parents’ music, which is how I became familiar with Taylor’s catalog. Opening with “Mexico,” I was instantly brought back to childhood.
As he prepared to sing “T-Bone,” he dedicated it to actor John Belushi, a friend he lost very early in life. “Shower the People” was beautifully done. Mid-set, he performed his most famous works starting with “Carolina in My Mind,” then moving into “Fire and Rain” and “Country Road.” The crowd was thrilled!
Taylor finished off his set – and the festival – with a rendition of Marvin Gaye’s “How Sweet It Is (To Be Loved by You)” and, finally, “Sweet Baby Jane,” which had everyone singing along and swaying to the music.
Final verdict? BeachLife definitely lives up to its reputation! Well attended and well thought out, the artists were beyond measure, and I would absolutely go back for the next one!
FESTIVAL PHOTO GALLERY
by Todd Markel Rock Images
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SID 260509 | TRACI TURNER | EDITOR [...]
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May 7, 2026UncategorizedNew Wave’s Night Out at House of Blues Anaheim
May 7th, 2026 by Shane Pase
There’s a moment at these ‘80s new wave bills — and if you’ve been to one in the last few years you know exactly what I’m talking about — where the room just locks in. Doesn’t matter if the person next to you was alive for the original run or just discovered this music through a playlist or a parent’s old mixtape. The energy levels out, and suddenly everyone’s in it together. That moment is coming to House of Blues Anaheim on July 23rd, and the Totally Tubular Festival this summer looks like one of the better lineups we’ve seen for it.
Let’s talk about the bill, because it’s loaded.
You open with Tommy Tutone, and Tommy Heath and company have one of the most instantly recognizable hooks in pop history — you know it, everyone knows it — and they’re a genuinely fun live band with real power pop chops. Good energy, good hang. Then The Escape Club jumps in, and if you’re sleeping on “Wild Wild West,” please fix that before July 23rd.
Animotion rounds out the earlier part of the evening with some synth-forward energy. “Obsession” still hits harder than it has any right to, and their live show brings that intensity right into the room.
By the time The Motels hit, the room is going to be ready. Martha Davis still commands a stage with real authority; “Only the Lonely” lands differently live, heavier somehow, and that’s a good thing.
Then Flock of Seagulls takes over, and this is a band worth paying attention to beyond the obvious entry points. “Space Age Love Song” is as pretty and melancholy as anything the era produced, “Wishing (If I Had a Photograph of You)” is a legitimate anthem, and live they bring a depth that reminds you just how much this band had going on musically.
Then there’s Thomas Dolby and the Lost Toy People closing it all out, and this is where the night reaches another level entirely. Dolby has always occupied a unique space in the new wave world — part pop craftsman, part sonic experimenter, with a restless intelligence that runs through everything he’s made.
“She Blinded Me with Science” put him on the map, but albums like “The Flat Earth” and “Aliens Ate My Buick” showed an artist willing to push well past the boundaries of what new wave radio expected from him. Backed by the Lost Toy People, his live show pulls from across that whole arc. Familiar moments land with the weight of songs you’ve loved for decades, and the deeper cuts reward anyone who’s spent real time with his catalog.
The broader thing worth saying is that this ‘80s new wave resurgence isn’t really a resurgence at the core level — these artists never fully went away. What has changed is the audience.
The shows have been packed, and it’s a gloriously mixed crowd; those who remember the purple can of Aquanet, bottles of Bartles and Jaymes, the clove cigarettes burning on the patio, and the jazz shoes that somehow went with everything, standing alongside a younger generation discovering all of this for the first time and wondering how they almost missed it. That mix makes for a livelier room than a purely nostalgic crowd ever could, and House of Blues Anaheim is a great room for it — not so big you lose the intimacy, not so small you can’t actually move.
July 23rd should be a solid night. Give yourself some extra time to get in.
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May 6, 2026UncategorizedINDUSTRY REPORT # 62
Catching Up with Linda Perry
May 7th, 2026 by Traci Turner
One of the most challenging aspects of introducing an interview subject, at least for me, is defining them for this first paragraph. An emerging artist is easy enough, or an established band with the current number one song is a quick one. But Linda Perry? The woman wears so many hats – both literally and figuratively.
Many know her as the voice from “What’s Up?” the mega hit song that ruled 1993 and made 4 Non Blondes a mainstream success.
Last year 4 Non Blondes reunited for several shows – which sold out instantly – and shared a new song, “Hollow.” They also announced a new album is coming in late 2026/early 2027.
To others, Perry is the Grammy-award nominated songwriter and producer who has worked with Pink, Christina Aguilera, Gwen Stefani, Ariana Grande, Solange, Celine Dion, Alicia Keys, Miley Cyrus, Unwritten Law, Brandi Carlile, and the beloved Dolly Parton.
Then there’s Perry’s solo material, including her first solo record in 25 years, “Let It Die,” arriving this Friday. The companion documentary is a heartbreaking look at Perry’s early life, her relationship with her mother, her mental health and breast cancer, and lots of incredible music.
For the first single, Linda Perry revisited “Beautiful,” the song Aguilera made iconic nearly 25 years ago. Perry’s raw version is an intimate rendition formed through decades of life experience, and its message remains especially poignant today.
Even with all of that going on, the multi-tasking Perry was able to spare time to chat with us about “Let it Die” and what’s ahead for 4 Non Blondes, leading me to believe she does not sleep!
Traci: Hi, Linda. Thank you so much for doing this. How are you doing today?
Linda: I’m good. I’m just at the studio working and feeling pretty good.
Traci: I’m going to get my biggest question out of the way first: How are Nacho and Pablo doing? (her pups)
Linda: (laughing) Nacho and Pablo actually just arrived to the studio. I had to leave them behind this morning because I came to the studio so early. They don’t like it when I leave them at home, so when they get to the studio, it’s like they haven’t seen me in five years. And they are great. They’re amazing. Thank you for asking.
Traci: Do you remember the very first song that you fell in love with?
Linda: I remember the first voice. For me, music was a sound, a tone, a vibe. It wasn’t necessarily about the song itself, but when I first heard Karen Carpenter’s voice, I instantly identified that as how I felt inside. I remember it was “We’ve Only Just Begun.”
Her tone was so dark and rich and incredibly emotional. I felt a very strong connection to the emotion she was delivering, which was, to me, sad, dark, depressed. Someone who had very complicated emotions going on deep inside.
Traci: I watched your documentary, and you sent me through a lot of emotions. We’ll get to the tears portion, but I really enjoyed you sharing your songwriting process. It seems that you just start playing music and the words spill out of you?
Photo by Heidi Zumbrun
Linda: Yeah, something to that effect. For instance, I took two weeks off, and I don’t touch an instrument. I don’t go to the piano. I don’t pick up my guitar. I barely listen to music because it’s my way of detoxing from emotions and creative. It’s like when I’m on vacation or I’m away, the creative goes away. But as soon as I sit down and I tell the universe, the creative, “Okay, I’m ready for whatever you want to throw my way,” that’s when the music comes. I’ll just pick up a guitar or go to the piano, and if there’s a song to be written, it just shows up as a written song almost.
Perry continued: It’s like I start playing the piano, the melody comes, I ad-lib whatever is on my mind, or actually, I have no idea what’s on my mind. I just start opening up my mouth and words kind of come out. It’s a pretty fast experience. I don’t labor over songwriting. I’m just so used to the creative warning me and letting me know it’s time, and then I write the song. But anytime I start thinking about writing the song, or I start thinking about, “Oh, I don’t know if I wanna write about this. Let me write about this,” then I lose the plot. Anytime I try to get too poetic, plot is lost.
Traci: After watching the documentary and seeing the history with your mom, the album seems to be inspired by the events. Did it become a method of therapy?
Linda: I guess so. I think that it’s kind of hard to understand how things come. But I had an experience, actually a few, in that short period. This wasn’t a film that was filmed for years. This was like a very short period of time, and it all kind of happened at the same time, and it was crazy. It was literally insane what happened in that short period of time. As you know, the documentary is focused on, “What would Linda do?,” because I lost my identity over all these years of writing for people. So many different characters have come into my life over the past 25 years of me being a producer and a songwriter. But, you kind of lose yourself.
Traci: When I listened to the album, “What Lies With You” stood out and made me cry. Then when I watched the documentary, and watched you building that song with the band, the strings, everything, it gave me chills. It was incredible watching you create that moment.
Linda: Thank you. You know, that was real time. That wasn’t over 10 hours; that was like three hours that happened. I think we just need to listen a little bit more to ourselves, you know? We have guardians everywhere. We get warning signs. We get signs about a lot of things constantly. Over the years, growing up, I’m more in tune. I think that that was a good example of just, “I’m not gonna try to control this narrative.” And as much as I don’t wanna sing a song like this or write a song like “Let It Die Here” about how sinister my mother is, it’s almost comical because it’s so true.
She continued: I’m not even trying to be poetic in that song. That’s just how it feels and felt living with my mother. What a con artist and incredible and powerful lady; so, as much as the damage she has caused, my mom is my hero and the villain, my muse. She’s all of it. I think what is amazing about what was gifted to me was I was able to give you a full understanding. So you get to watch this documentary about how fucked up I am, and then you get to hear this album that basically kind of explains a little more in detail. And by the time you get to “Sunday Best,” it’s like, you know what, I fucking did what I need to do. And before I die, I’m going to leave something fucking behind, whatever it is.
I am beautiful no matter what they say,Words can’t bring me down,I am beautiful in every single way.Words can’t bring me downDon’t you bring me down today.
LINDA PERRY
Traci: “Albatross” is, I think, a hopeful ending for it too.
Linda: Exactly right. That was the last song I wrote. I thought I was done with “Sunday Best.” I was like, “Oh, that’s a great closer.” But then I was sitting at home, and I just went to the piano, and albatross just showed up. I didn’t even fucking know what albatross, besides a bird, meant. But this fucking word keeps coming out of my mouth, and I’m like, “Why am I saying albatross?” So finally I looked it up, and it’s like carrying a weight, a burden, you know? It’s like, “Oh my Jesus, did I just… how… where the fuck did I go? Where the fuck did that come from?” So that’s why I left it as simple as it is, too. It’s like the most simple recording. It’s hope. I’m getting rid of this guilt. I’m dropping this weight, and I’m just going to move forward from here.
Traci: I heard there is a new 4 Non Blondes album coming?
Linda: Yeah, that’s what I’m working on right now. Roger is in; I had him come down ‘cause we recorded all the songs which are so fucking good. It’s like, I am beyond myself right now when I’m listening back to these songs. It’s so ‘90s and in the best possible fucking way. I just didn’t want to play the “Bigger, Better, Faster, More!” album when we played all these festivals last year. I couldn’t bear it. I was like, “I don’t want to play that album. I don’t like that album. I’m not that album anymore.” And that was the caveat. “I’ll do this, but we’re only playing ‘Train’ and we’re playing ‘What’s Up?’” You know, those are the two songs I can relate to, and that’s it. And then I just popped out these fucking songs and I was thinking people are going to be hearing these songs for the very first time so I got to make these choruses really simple and I want to rock out.
She paused and continued: They’ve got to be emotional, but they’ve got to be dumb too. They’ve got to be just dumb rock songs with hooky choruses that people can just jump in and start singing along. And I kid you fucking not, that’s exactly what happened. So Roger’s here this week, and we’re doing overdubs with all his guitars, and then I’m gonna do my vocal and my guitars. If the universe allows, my ideal situation would be to drop a video and two songs on this side of the year, try to play as many shows as we can on this side of the year, and then drop the album at the top of the year of ‘27. I feel like that feels good to me. I’m not being strategic here; this is just what feels good to me. I got the documentary and Linda Perry album I’m working on, so I don’t want to overextend myself, and I don’t want to favor one over the other.
Traci: You’ve got a lot of babies right now.
Linda: I’ve got a lot of babies I want to give some attention to. In the past, when I try to do everything at the same time, it doesn’t work for me because I’m all in. I’m not 50% – I am all in.
Traci: And what a different time it is now in the industry versus when you started.
Linda: Breaking artists and releasing music… it’s not the fucking ‘90s anymore, for sure. I’m not trying to compete because, I guess I could say that honestly, I wouldn’t even know what I’m competing against. I don’t think there’s anybody like me out there right now or an album like this. So will anybody join me, or will I really be out on my own on this and just, “Oh, I made a great record, I should be proud of that?” Nobody fucking does that. I’ll be honest. I don’t think I’d like to meet the person that released a record that failed that says, “You know what, I loved my record and I’m really proud of it, I stand behind it.” You know, your ego, your heart, your emotions, your mind, everything gets bruised. Yeah, it’s a hard fucking pill.
Traci: When you create something, you’re showing your entire heart, and it hurts.
Linda: God, Jesus, now you just really fucked me up, you know. Fuck you, Traci. (laughing)
Traci: (laughing) Sorry! I will let you get back to the chaos, but I need you to give the dogs a treat.
Linda: Okay! Yeah, Nacho, the overeater, will love that!
“Let It Die,” Linda Perry’s new solo album, is out Friday and she has some very special appearances ahead. Catch her at Amoeba Music in Hollywood on May 14th for an intimate performance and vinyl signing. There is a “Let It Die” documentary screening May 13th at TCL Chinese Theater which includes at Q&A with Perry and an acoustic performance. She will also do a Q&A and performance May 7th in New York City.
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LINDA PERRY
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May 6, 2026UncategorizedBorn to Kill is Here
May 7th, 2026 by Traci Turner
The long-awaited new album from Social Distortion is finally here for consumption! After 15 years of waiting for a follow up to “Hard Times and Nursery Rhymes,” “Born to Kill” arrives Friday.
Back in February the band posted a video of founding member and frontman Mike Ness walking on a street, passing an image of the band’s skeleton logo and the words “Born to Kill.”
The song of the same name was dropped shortly after and fans ate it up. They recently gave us “Partners in Crime,” another amazing track that sounds like the Social D we love.
Their current drop from the new album is “The Way Things Were.”
Social Distortion is responsible for some of the earliest punk music in SoCal and remains beloved in OC. After Ness revealed his tonsil cancer diagnosis in 2023, fans were rabid in their support and rallied around him in droves. Thankfully he is in remission and sounding phenomenal.
The legend that is Ness is of course joined by Jonny “2 Bags” Wickersham, Brent Harding, and David Hidalgo Jr. In addition to the new material, we can expect to hear some of the songs that made them part of our lives originally: “Story of My Life,” “Ring of Fire,” “Bad Luck,” “Reach for the Sky,” “Machine Gun Blues,” “Prison Bound,” and of course, “Ball & Chain.”
Alongside the new album, the band will take on a major US tour that kicks off August 25th in Phoenix and wraps up in San Diego on October 3rd. Social D will have support from Descendents and The Chats. The trek lands two shows at the Palladium October 1st and 2nd.
Get the album, get the tickets, and get your Social D on!
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SID 260507 | JIMMY ALVAREZ | EDITOR [...]
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May 5, 2026UncategorizedIs Tried, Tested and Trixies
May 5th, 2026 by Traci Turner
Earlier this year, English rockers Squeeze gifted us their newest album, “Trixies,” and now they are making our year even better by heading to our shores for a summer tour. While Glenn Tilbrook, Chris Difford, et al put on an incredible show themselves, they are bringing two other ‘80s favorites along – Adam Ant and Haircut 100!
Squeeze’s Tried, Tested and Trixies Tour kicks off in Nashville on August 16th, travels through the South, up the East Coast, then makes its way to SoCal September 19th at the legendary Hollywood Bowl (this show has The English Beat rather than Haircut 100 and is already on sale). Leon Tilbrook, son of Glenn Tilbrook, is on the bill for all shows.
“Trixies,” released in March 2026, was “a lifetime in the making.” The album was a previously shelved concept album from before they were known to us as Squeeze!
“These are very much the same songs that we wrote then,” Tilbrook explained, “The only difference is that now I can teach the songs to the rest of the band. Back then, I didn’t even know what the names of the chords were!”
The band promised a concert filled with the music from “Trixies,” plus the favorites we know and love: “If I Didn’t Love You,” “Black Coffee in Bed,” “Is That Love,” “Goodbye Girl,” “Pulling Mussels,” “Tempted,” “Cool for Cats,” “Take Me I’m Yours,” and “Annie Get Your Gun.” They always put on a phenomenal show and remain the sharpest dressed band around.
Prince Charming himself, Adam Ant returns to the US after a long absence; we last saw him at Cruel World in 2024!
While he is in the US, he is also making a stop at the Darker Waves festival in Huntington Beach.
We look forward to some “Antmusic” like “Goody Two Shoes,” “Dog Eat Dog,” “Puss ’n Boots,” “Apollo 9,” “Stand and Deliver,” “Strip,” “Desperate but Not Serious,” “Vive le Rock,” and “Friend or Foe.”
We caught up with Haircut 100 when they toured with Howard Jones last year – and SiriusXM/former-KROQ DJ Richard Blade – and they gave us the intel on their new album. We are happy to see it is finally here! “Boxing the Compass” will arrive May 29th and so far, it sounds amazing!
“Dynamite” truly rocked the crowd when we were at the show and fans will love to hear the classics “Love Plus One” and “Boys Meets Girl” alongside it.
The new tour dates go on sale Friday, but a presale is now going with the password TRIXIES.
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SID 260506 | JIMMY ALVAREZ | EDITOR [...]
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May 4, 2026UncategorizedBats Day Gone Cryin’ Live at the Observatory
May 5th, 2026 Review by Kevin Gomez
Saturday was such a gloomy, rainy day in Orange County. In other words, the absolute most perfect weather for the first ever Bats Day Gone Cryin at the Observatory in Santa Ana. A concert offshoot of Bats Day in the Fun Park, the event was founded by Noah Korda, a graphic artist and club promoter in Los Angeles.
A gathering of goths assembled for a sold-out Saturday evening with vendors selling everything from shirts to pins and patches, toys to taxidermy artwork, filled up the outdoor patio and the Constellation Room.
The Aquabats were listed as “The Aquabats Tribute to the Cure.” This is my third time seeing them do this special type of performance, and each time just seems to get better. You might think that they would do ska-punk, sped up versions of the classic songs from the Cure, but instead it’s a note-for-note reproduction of the legendary goth band. And it’s terrific.
As the band took the stage, sounds of thunder and rain played on the PA. Footage of trees played on the screen behind them as they lulled into “A Forest.” A lonely tree devoid of all leaves flanked each side of the drum riser.
Fans flashed The Aquabats hand symbol as MC Bat Commander gave his best Robert Smith impression with a meek, “Thank you.” If the crowd was a bit timid to start, they came alive for “In Between Days.” The band then launched into a very fun version of “Boys Don’t Cry.”
The lights on the barren trees lit up red as The Aquabats went into “Friday I’m in Love.” In between songs Bat Commander couldn’t help himself from laughing at how absurd all of this was. Absurd and amazing. Crash McLarson made his triumphant return, as he was out for a few months following knee surgery.
McLarson laid down the thick baseline that was the foundation for “Lullaby.” Bat Commander introduced “A Night Like This” as, “a song we’ve never played before,” which featured a sick sax solo from Jimmy the Robot.
The band played the intro of The Aquabats’ song “Pool Party” before Bat Commander announced, “That’s enough of that.” Instead, they went into “Love Cats” joined by three giant kitten furries, one of whom took off his head and played a trumpet solo. They played my favorite, “Close to You,” before Bat Commander said, “We hope this next song will unite all the goths. It’s a dark world, but this one can bring us all together,” and they played Joy Division’s “Love Will Tear Us Apart.” They closed their 60-minute set with “Just Like Heaven” as giant balloons were passed out.
DJ Rose Knows spun the music in between sets. She featured a goth-inspired setlist that brought out “Policy of Truth,” “Bizarre Love Triangle,” and more. Before the headliner, Korda came out and thanked everyone for this memorable night. “We’ve been doing this for 27 years,” he told the crowd. He then welcomed the Sweet and Tender Hooligans.
The band is led by the “Mexican Morrissey,” Jose Maldonado, who was also recently announced as the new lead singer for Oingo Boingo Former Members. I guess we can also call him the Mexican Danny Elfman. The band opened with the Morrissey gangster ballad, “First of the Gang to Die.” For “You’re the One for Me, Fatty” Maldonado got on his knees and held his mic by its stand next to David Collett to broadcast his guitar solo.
Maldonado was all dramatic interpretive dance for “November Spawned a Monster.” He introduced “I Want the One I Can’t Have,” as something we can all relate to and renamed it, “the goth I can’t have.” At one point Maldonado put both his hands behind his head and began gyrating his hips before lucky fans in the front row. This must have been what people felt watching Elvis for the first time in the ‘50s.
Maldonado said he had a message for all the young ones in attendance: “Your parents did a very good job. You know all the words to these songs and you’re dancing just like we were dancing when we were kids.” His second message was, “Don’t shoplift,” leading them to “Shoplifters of the World Unite.”
He announced that in celebration of the 40th anniversary of The Smiths album, “The Queen Is Dead,” Sweet and Tender Hooligans will be playing the iconic album in its entirety on June 5th at the Observatory North Park in San Diego, and June 6th at the Teragram Ballroom in Los Angeles.
Art Barrios and Collett kicked into the ska upbeat guitar of “This Charming Man,” as Danny Garcia kept an impressive drumbeat. Maldonado said the Irish were very much like the Mexicans, as both immigrated from other countries and both faced discrimination. He introduced “Irish Blood, English Heart,” by saying, “Mexican blood, American Heart.” They crushed “Ask,” “Suedehead,” and closed out their set with “Bigmouth Strikes Again.”
The band came back for a single song encore. Maldonado asked the crowd, “How many Smiths fans does it take to change a lightbulb?” Fans shouted out numerous answers, but Maldonado replied, “Nope. There is, ‘There is a Light That Never Goes Out.’”
Maldonado tossed various roses in the crowd (two of which I caught), and then finally shed his shirt once and for all. One by one the band left the stage, leaving us one last glance at Garcia for what was a wonderful drum session. Even the saddest goth kids were all smiles by the end of the inaugural Bats Day Gone Cryin’.
SHOW PHOTO GALLERY
by Steve Allen Photography
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May 4, 2026UncategorizedBrought the Darkness Home to The Wiltern
May 4th, 2026 Review by Shane Pase
Thursday night April 23rd at the Wiltern felt like a proper LA homecoming. She Wants Revenge, the darkwave duo of Justin Warfield and Adam 12, rolled into their hometown theater for what turned out to be one of the more meaningful shows of their two-decade career — packed house, two live debuts, a tribute to a fallen friend, and a 20th anniversary celebration all wrapped into one evening.
The night opened with Rosegarden Funeral Party, a three-piece whose guitar and bass-heavy post-punk sound was a smart way to ease the crowd into the night’s darker headspace.
Lead singer and guitarist Leah Lane was an immediate standout — she had the kind of stage presence that makes you lean in, throwing out powerful lyrics one moment and flashing a big, genuine smile the next. She looked like she was having the time of her life up there, and that energy was contagious.
The crowd warmed to them quickly, and rightfully so. House of Harm followed with a set that leaned into alternative indie territory with streaks of dark emo woven through it. Both bands did exactly what a good opener should do — they connected with the room and got everyone in the right headspace for what was coming.
By the time She Wants Revenge took the stage, the Wiltern was ready. The production team had fog machines working overtime — and we’re not talking a tasteful wisp here and there. This was San Francisco Bay-level fog, rolling across the stage and spilling out into the first several rows of the floor. Combined with the moody lighting, it gave the whole room this hazy, almost cinematic quality that suited the band perfectly. You half expected a noir detective to walk through the haze and light a cigarette.
They opened with “Black Liner Run“ before moving into “Sister“ and “Written in Blood,” easing the crowd into the set’s emotional arc. Warfield commands a stage in a way that’s hard to fully describe in print — he’s deliberate, almost unhurried, and his baritone fills the room with a weight that matches the material. He’s not a frontman who bounces off the walls, but he doesn’t need to be.
There’s a lineage of performers who understood that stillness and intention can be more commanding than constant movement — Jim Morrison owning a stage without ever seeming to try, Dave Gahan turning every song into something that felt deeply personal, Michael Hutchence drawing an audience in with little more than presence and a look. Warfield fits comfortably in that tradition. There’s something about the way he carries himself that seems to genuinely connect with the crowd on a level beyond just appreciation for the music — fans are drawn to him, almost magnetically, in a way that goes beyond the songs themselves. He doesn’t chase the audience. They come to him.
The band worked through a deep and well-balanced setlist across the night, hitting “These Things,” “Sarah Says,” “Someone Must Get Hurt,” “A Little Bit Harder,” “Now,” and “Your Love,” before “Disconnect,” and “Rachael” kept the momentum rolling through the middle of the set. The Wiltern’s sound suited them well — the low-end on tracks like “Your Love“ was felt as much as heard, the bass pushing through the floor while synthesizers layered in above it.
One of the evening’s more emotionally charged moments came when the band paused to pay tribute to Greg Foreman, better known as Mr. Pharmacist, who had passed away just three days before the show. Warfield brought out a picture of Greg and placed it on the side of the stage, saying that was where Greg would always be. It was a quiet, sincere moment in the middle of what had been a high-energy night, and the crowd responded with real warmth. The kind of moment that reminds you these aren’t just performers going through a set — there are real friendships and real losses behind the music.
The band also acknowledged the 20th anniversary of their self-titled debut album, which got a strong reaction from a crowd that clearly has deep roots with that record. Twenty years is a milestone worth recognizing, and the setlist drew from across their catalog in a way that made the anniversary feel genuinely celebratory rather than just nostalgic.
Then came the surprises. Mid-set, the band debuted two new songs — Do No Harm and Gossip & Drugs — both making their live debuts on this night. Before launching into Do No Harm, Warfield addressed something head-on: the long-running perception that She Wants Revenge is strictly a dark, brooding band without a dance bone in their body. He wasn’t having it. He announced that Do No Harm was, without question, a dance song, and he made it clear that he expected the Wiltern to become one massive dance floor for the duration of it.
The song delivered on that promise — it carried a distinct EDM-influenced vibe, a noticeable departure from the band’s usual sonic palette, but it worked. The crowd responded enthusiastically, and honestly, watching a room full of darkwave fans suddenly find themselves dancing to something that wouldn’t sound out of place in a club set was one of the more fun moments of the night.
Adam 12 also took a moment to address the new music more broadly, telling the crowd that the band has an enormous amount of material ready to go — so much, in fact, that it would blow fans’ minds. That’s a bold claim, but given what the two new songs suggested about where they’re headed, it’s hard to be skeptical.
The back half of the set moved through Red Flags and Long Nights, These Things Happen in Threes, Black Wax Our Love, and Out of Control before arriving at the inevitable closer. Tear You Apart ended the night the way it always does — with a room full of people who have known every word of that song for twenty years singing it back at the stage. Some songs just have that kind of staying power, and in a live setting at full volume, it still hits.
She Wants Revenge put on a show Thursday night that covered a lot of ground — anniversary celebration, emotional tribute, new music previews, and a greatest hits run through a catalog that holds up. The fog-drenched Wiltern was the right room for it. It was a great show without a doubt.
SHOW PHOTO GALLERY
by Shane Pase Photography
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April 30, 2026UncategorizedApril 28th, 2026 by Bruce R. Kilgour
In the late ‘80s, a new musical and cultural scene dubbed “Madchester” emerged in the United Kingdom. Along with like-minded bands such as Stone Roses and Happy Mondays, The Charlatans were among the most famous and successful.
All of their albums reached the UK Top 40 Albums chart, with three making it to number one, and the band had almost two dozen top 40 singles across three decades.
Only founding member and bassist Martin Blunt is present from the original 1988 lineup, but vocalist Tim Burgess joined in 1989 and guitarist Mark Collins in 1991. With the addition of Tony Rogers in 1997, The Charlatans have maintained a stable lineup for almost 30 years.
Although the band has only visited the US seven times in the last 20 years, California fans were fortunate to get some great gigs from the Manchester legends in both 2023 and 2024. The band is currently on tour in the United Kingdom, promoting their 14th studio album, 2025’s “We Are Love.”
In addition to new music, The Charlatans UK are also celebrating the 35th anniversary of their chart-topping debut album “Some Friendly,” recently reissued in a deluxe 2CD/LP package featuring B-sides, remixes, alternate takes, and other rarities curated by Burgess.
This week, The Charlatans announced an ambitious 16-date North American tour that will begin on September 3rd with three Southern California shows and wrap up in Brooklyn on September 26th.
Lucky fans at the Santa Ana Observatory (September 3rd) and Hollywood Palladium (September 4th) shows will be treated to “very special guests” The Dandy Warhols, for what appears to be that band’s only scheduled concerts this year.
Tickets for all three Southern California shows (the band is also appearing at House of Blues San Diego on September 5th) are on sale now!
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April 29, 2026UncategorizedOpening Weekend is a Thriller
April 30th, 2026 Film review by Jimmy Alvarez
It is known as the decade of decadence; an era where everything over-the-top took on a life of its own. Of all the names that shined in the lights, there is none bigger than the King of Pop, Michael Jackson.
Born and raised in Gary, Indiana, Michael Jackson was the diamond of the group that blew up in the late ‘60s and early ‘70s known as the Jackson 5. The hits that made them household names were “ABC,” “I Want You Back,” and “I’ll Be There.”
Notably, the band was a family affair, led by the band’s father and manager, Joseph Jackson. The band itself were brothers Tito, Jermaine, Jackie Marlon, and of course, Michael – the brothers Jackson.
We all know the story: Michael went his own way and became one of the biggest names in music history. But – yes, there’s a but – his legacy is entrenched in more than his epic catalog of music.
The biopic was released last week and did very well at the box office; it even blew past Straight Outta Compton numbers. The reviews are mixed, so it depends which side of the Michael Jackson fandom you are on. If you don’t like Mr. Jackson, this film will not change your viewpoint. But, if you are a fan, wow… this is the film for you.
The movie was written by John Logan, directed by Antonine Fuqua, and produced by Graham King, John Branca, John McClain, with contribution to scene development from the Jackson Family Estate. I think the film did a lot of things right, and fell short on a few as well.
The elephant in the room was never addressed; we all know what that is. Neverland was never addressed, and the subsequent issues related to his legacy’s controversy. Not addressing it is a criticism, and a fair one. What was addressed was the rise of the Jacksons, and the journey those boys were on that the public was not aware of, until now.
The early scenes of the family were very well done, and every good story always has a hero we root for and an evil villain. For this film, we were given both. Colman Domingo was an absolute despicable human being in this film; he was thoroughly hate-able as the patriarch of the family: Father of the Year, he certainly was not. How he treated the kids like a drill Sargeant versus a father explains a lot, and the PTSD they most likely had.
Michael, being a true lead singer, had his own thoughts and visions on how to perform, which did not align with father Joe. As a result, a few sad scenes of Michael being beat at the end of a belt by Joe while the family looked on.
Those scenes were truly hard to watch, living through that is something many people can relate to and that made Michael more like one of us instead of that larger-than-life character he played while he was with us.
Another heart-wrenching moment was a scene where young Michael was having breakfast with his mother Katherine (played by Nia Long). She said she wished he had more friends closer to his age versus having a chimp. Michael’s response was very sad; he said kids his age look at him weird and just want to take pictures with him. He was about 10 years old and that was his life – he was already an outcast. What was striking is that his sister Latoya was featured, but Janet was not. Apparently, she opted out and was not portrayed in the film.
Through the film as Michael got older, it referenced his skin disease. This dispelled many of the rumors about how he was taking treatment to change his skin color. No, he had a skin disease (vitiligo), which was chronicled throughout the film. This should put that rumor to rest. The film also introduced us to his long-time bodyguard Bill Bray (played by KeiLyn Durrel Jones) and it was an excellent casting move as he played a very important role in Michael’s life – kind of like a replacement or surrogate dad.
Photo courtesy of Lionsgate
As film Michael got older, the actors changed. Older Michael was played by his nephew, Jafar Jackson (Jermaine’s son). Wow, what a portrayal! His onstage performance of Michael was unreal and literally brought those legendary performances back to life.
The film chronicled the insanity of his inaugural solo album, “Off the Wall.” Songs off the album that were played upfront or in the background include “Don’t Stop Till You Get Enough,” “Rock with You,” and “She’s Out of My Life.” The film took off with live concerts by Jafar Jackson and it was really something. It really felt as if it was Michael incarnate on that stage.
Photo Courtesy of Lionsgate
Then, they told the story of “Thriller” and how it came together and the process to bring that music to life. Smash hits, “Wanna Be Startin’ Somethin’,” “PYT,” “Beat It,” and “Billie Jean” were featured.
The segment of how the video for “Beat It” was filmed is simple fascinating. Another great scene was when Michael and his attorney meet with CBS record exec Walter Yetnikoff (played by Mike Meyers). How they got “Billie Jean” played on MTV was a jaw-dropping scene.
For “BAD,” that too had its moments; it was simply over-the-top kick-ass film making on an epic scale how they brought that performance back to life. In the end, it was the accident that nearly took his life that was a pivotal moment. The Jackson reunion tour was not a Michael idea, nor did he want to do it, but Papa Joe bullied him into it. As a result, he had an accident that left him with severe burns on the top of head that caused him to wear a toupee and left him in constant pain for the rest of his life.
He recovered and finished the Jacksons tour, and went on to kill it on the “BAD” tour, but that moment of innocence and flair for life was gone. Although, one area I think anyone who sees this film will appreciate is how Michael was very generous with his support of those who needed it and donated lots of money to great causes.
Photo Courtesy of Lionsgate
Not only would he talk to his fans but he was like a big kid and talked to all, and he did it outside of the cameras so his interactions with fans were sincere. Sure, it was a good call that the producers included those scene, but I personally know for a fact Michael did do things like that. He was a big kid at heart; the film did right by him portraying that.
The take way for me, the film stayed away from the controversial aspects of his life and death, and some will say it’s a revisionist story, and some will say it’s how they remember him. For me, I know the story, the good, the bad and the ugly. I honestly learned a little bit about his life that I didn’t know before, and the music, how that was done by Jafar Jackson reminded me why this guy was so loved worldwide. This film keeps you on the edge of your seat. For me, I give the film a very enthusiastic thumb up.
Others may have a different opinion, and that’s OK. I think when you have time to digest what you saw, you will have a different appreciation OF what he went through, and the film explains a lot of why he was the way he was. A rags to riches story for sure…. But, it is also a modern day tragedy.
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April 28, 2026UncategorizedPlay Inaugural Show
April 28th, 2026 Review by Joey Clark
It started out as a solo project that stewed in the back of Jack Antonoff’s mind for over decade as he was on tour with his former band, fun. Since then, Bleachers have made an indelible imprint on the music scene. Since the project’s first single, “I Wanna Get Better,” catapulted the band into the mainstream in 2014 they’ve held strong as a formidable force in the indie rock world.
With the boys in Bleachers having a storied career and being just weeks away from their next studio album, “everyone for ten minutes,” it’s clear to see why they made the perfect band to be the first to perform at the new and improved In-N-Out Burger Sound Space at KROQ. The two SoCal staples, In-N-Out Burger and the legendary alternative rock station KROQ have officially joined forces to continue the station’s incredible run of intimate, exclusive performances at the Sound Space.
Following a round of fresh Double-Doubles and Cokes provided by the Sound Space’s new namesake, Bleachers’ fans were buzzing outside the doors about the band. The air was frenetic. Then we were ushered into the room that had definitely been given a bit of facelift since we last saw it. Attendees packed the four walls to the gills in an instant. We were minutes away from the next chapter in Bleachers’ history.
Before being joined by the rest of his bandmates, frontman Jack Antonoff took the stage to be interviewed by KROQ’s own Kevin Klein and Ally Johnson of the Klein/Ally show.
Ally asked about the lyric, “Now only my people can see me” from one of their latest singles, “dirty wedding dress,” and how Antonoff finds his people within an industry that can be inauthentic. Antonoff responded, “To not follow anyone else. When the band first started, the first song I put out was ‘I Wanna Get Better.’ It was really intentional because I don’t want anyone to have any misgivings of who I am… It’s better to just come forward as who you are.”
Another highlight in the interview was when Ally asked for Antonoff’s thoughts on the recent ruling of the United States v. Live Nation Entertainment case that found that Live Nation and Ticketmaster were operating as an illegal monopoly.
Antonoff was quick to say sarcastically, “Oh, did they? There’s some real geniuses over there. The same company that are selling the tickets and promoting the show is a monopoly?” The comment made for a collective moment of gut-busting laughter.
What makes the Sound Space entirely unique outside of its intimate 200-person capacity is the audience never quite knows the type of performance they will receive from their favorite artists. Some artists have played a single song while others have crammed in as many as their hectic schedules have allowed. Bleachers gifted the audience a seven-song setlist that seemed to christen the newly-renamed venue and reintroduce the band to its diehard fanbase.
Los Angeles, California
April 21st, 2026
The group started off the set with “Chinatown,” a single from their third record, “Take the Sadness Out of Saturday Night,” that was met with instant admiration from those in attendance. But Bleachers didn’t hesitate to start performing cuts off their upcoming record and went into “the van” right afterwards. It was easy to recognize that you were in a room full of dedicated Bleachers fans because they sang along to the track as if it had been a staple in the band’s catalog for years. Similarly, new songs “dirty wedding dress” and “you and forever” were received by the audience with the same enthusiasm—no doubt a strong indicator for what’s to come.
“Rollercoaster” off the group’s debut album was the song to close the set. Collectively the band and the audience gave it their all when singing the final tune. No one in the room left anything on the table. As Bleachers exited the In-N-Out Burger Sound Space, the crowd let out an appreciative scream.
Be on the lookout for Bleachers’ “everyone for ten minutes” hitting shelves and streaming May 22 and make sure to grab your tickets for their Bleachers Forever Tour this summer available through Ticketmaster now. Their five nights (September 10th-15th) at the Troubadour in Los Angeles are sold out.
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April 27, 2026UncategorizedFINAL DAMNATION 50 TOUR
April 27th, 2026 by Bruce R. Kilgour
Legendary punk icons The Damned will return to Southern California in November as part of the recently announced Final Damnation 50 tour, adding a pair of theater shows to their previously announced appearance at the 2026 Darker Waves Festival in Huntington Beach.
The band declared, “We’re calling it Final Damnation because, bearing in mind the advanced years of the participants it’s fairly unlikely we’ll undertake anything quite like this again.” Loyal Damned fans will be very happy with the current lineup, featuring original members Dave Vanian on vocals, Captain Sensible on guitar, drummer Rat Scabies, and long-time bassist Paul Gray, who originally joined in 1980.
The Damned will spend the summer playing (mostly) festivals across Europe and the United Kingdom. The Final Damnation 50 tour will commence in September with the band playing four dates in New Zealand and Australia, then resume on October 16th in Boston for 20 US shows, wrapping up at The Wiltern in Los Angeles on November 17th. San Francisco garage rock legends Flamin’ Groovies will provide support, and (on a few shows) The Courettes will also perform.
The bands founding member and original guitarist Brian James passed away in March of last year, and the January 2026 LP “Not Like Everybody Else” paid tribute to James by consisting solely of cool covers of ‘60s and ‘70s songs that had inspired them as young musicians. James posthumously appears on a cover of the Rolling Stones’ “The Last Time,” with him playing lead guitar on his final live performances with the band in 2022.
Hopefully, several of these covers will find their way onto the 2026 set lists. In their recent announcement, the band promised “an eclectic setlist chosen from right across the Damned’s career.”
Upon forming in 1976, The Damned released the UK’s first ever punk single, “New Rose,” and in the five decades since have released 13 studio albums and have toured the world every year (with the exception of 2020-2021).
Tickets for the November 13th House of Blues San Diego and November 17th Wiltern Theater shows are on sale now, as well as passes for the Darker Waves Festival on November 14th. Don’t miss the chance to see one of the true originators of British punk!
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April 27, 2026UncategorizedRemembering
CASSIE JALILIE
April 27th, 2026 by Kevin Gomez
Cassandra Nicole Jalilie, who we all knew as just “Cassie,” passed away Saturday evening, April 25th at 5:07 p.m., per her father, Peter Jalilie. He revealed that Cassie left this earth, “as she held the hand of her twin sister Candace, her best friend and family present, her cherished dog Chevy at her side.”
Cassie was best known as the drummer for Arizona’s punk trio, Venomous Pinks, but she was so much more than that. Through the past few days her father has tried to tell just a piece of her life story, memorializing her with pictures throughout her life.
Photo by Ben Trivett
Born in San Francisco, Jalilie first crossed paths with the Venomous Pinks in 2018 when they were playing a short tour with her band, Glam Skanks, Go Betty Go, and Bad Cop/Bad Cop. Just a year later the Pinks would change lineups and in March of 2019, Jalilie was announced as their new drummer. Her first official show with the band came in their hometown of Tempe at the Yucca Tap Room in May, and it was clear she was the missing piece that was needed. Jalilie is survived not only by her twin sister, but the sisterhood she formed with guitarist/vocalist Drea Doll and bassist/vocalist Gaby Kaos.
Jalilie once listed Travis Barker as her biggest influence and his style was apparent when you watched her play. Someone technically precise while playing at breakneck speed with reckless abandon and passion, giving every ounce of energy with very song. With this finalized lineup, the Venomous Pinks would head into the studio releasing their first full length album, “Vita Mors.”
After several EPs that put the Pinks on the map as one of the Arizona’s premiere punk bands, I think “Vita Mors” really shows their maturity and growth, as well as the chemistry that the three members exuberated. Showing complexity not just in music, but in lyric and theme, such as the emotionally powerful, “Hold On.”
Like any great punk band, the Pinks never shied away from expressing their political beliefs and dissatisfaction with the government (see “Todos Unidos”). Jalilie was no different. In the past year bands like Green Day and The Used have used their platform to speak out in support of Palestine. However, back in early 2024, when it was far less common Jalilie was one of the first I can recall to publicly take this stand.
I saw the Venomous Pinks play the Observatory in Santa Ana in January 2024 and Jalilie had taped a sign on her kick drum with the words “CEASEFIRE NOW!” A proud Palestinian herself, she told the crowd, “This is dedicated to the people in Palestine. Stop the genocide.”
In February of 2025, Jalilie had to miss a show, a rarity for her, as she checked into what would become a six-day hospital stay. Originally complaining of abdominal and backpains, she posted on Instagram that tests concluded that “my kidneys were functioning at a level consistent with stage 4/5 kidney disease.” She and doctors were stumped as there was no history of kidney disease in her family and no prior signs.
This would eventually lead to dialysis treatments three times a week, as she struggled to still practice and tour with the Pinks. What doctors did not realize at the time was that the kidney damage was due to undiagnosed stage three cervical cancer. When she was finally diagnosed in April of that year, Jalilie posted a six-minute video trying to raise awareness for women and stressing the importance of regular pap smears.
She stated part of the reason this went undiagnosed for so long is because she was a touring musician and did not have insurance. To help others in similar situations she mentioned that organizations, such as Planned Parenthood, offer free or low-cost pap smears that help lead to early detection. I can’t imagine how terrifying this news was, but as was her nature, she made it her mission to educate others and try to save lives, providing them opportunities she was not afforded.
Jalilie faced cancer with the same strength and courage as she tackled everything in her life. She continued to raise awareness, posting videos after her chemo sessions and detailing her ongoing battle. This past October she debuted her new bald look, simultaneously posting a video of her shaving her head in anticipation of the upcoming hair loss.
Two months ago Jalilie went through her toughest bout of chemo, leaving her unable to leave her bed for 10 days. Doll and Kaos came through setting up an Amazon Wishlist with groceries and gift cards, not just for Cassie but her dog, Chevy and cat, Remo. After just a few hours fans flooded the Wishlist checking off every last item. Jalilie posted the results, her living room absolutely inundated with care packages.
Photo by Angelea RoseRed
Despite a superhuman strength and a fight with every last ounce, Cassie passed away Saturday at age 36. As her father Peter wrote, “She now belongs to the eternity she was born into.” A loving aunt to twin sisters, she was passionate about surfing and the water. Along with her bandmates she helped speak out against injustice here and abroad. Tributes from family, friends, fans, and bands like Authority Zero and Bad Cop/Bad Cop have come pouring in through social media.
As you can imagine the medical bills, as well as not being able to work or tour, had taken a toll on Jalilie before her passing. As such, the Venomous Pinks have asked fans to help by pre-ordering a specially designed shirt featuring Jalilie behind her kit, drumstick in air. All proceeds will go to her family.
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