Publication Date November 11, 2026
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November 11, 2026UncategorizedLINEUP ANNOUNCED
November 11th, 2026 by Traci Turner
The Coachella Valley Music and Arts Festival announced their 2027 lineup, dubbed “The return to innocence,” and Tame Impala, Dua Lipa, and SZA top the bill.
The annual music and arts festival will be held at the Empire Polo Club in Indio like usual and continues to cover two weekends: April 9th-11th and April 16th-18th, 2027.
Coachella always gives us a stacked line up, so let’s take a look see…
Friday has Dua Lipa, the first solo female British artist to headline; the return of the legend that is Madonna; our guys in Social Distortion; the Swedish pop star who is on fire right now, Zara Larsson; the polka dot, black and white adorned group you have been seeing everywhere, Angine de Poitrine; plus Mike D 5D (Beastie Boys Mike D) , The Damned, Steve Lacey, Blackpink’s JISOO, Kehlani, Violet Grohl, and Leon Thomas.
Tame Impala tops Saturday and the day hosts another high demand singer-songwriter, Phoebe Bridgers; one of our favorite bands, Weezer; super talked about artist, Role Model; the return of Måneskin; plus Tiësto, Martin Garrix, and Adéla.
Sunday ends the weekend with SZA as headliner, and Don Toliver, Pennywise, Lambrini Girls, Sublime’s Jakob Nowell and THE CASTLE, Dom Dolla, Kygo, The Neighbourhood, and Becky G rounding things out.
Make your annual pilgrimage to the desert for Coachella 2027 by getting passes this Friday at noon PT. The tickets that went on sale in May sold out in hours, so do not hesitate!
If you just can’t get over to Indio, Coachella extended its deal with YouTube and will livestream the event.
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November 11, 2026UncategorizedLive from In-N-Out Burger Sound Space at
November 11, 2026 Review by Stuart Karpel
Last week, the In-N-Out Sound Space at the KROQ Studios was the place to be. The evening air ran cold but between the warm In-N-Out burgers, animated conversations amongst fans, and phenomenal music played by one of the hottest bands out there, the vibes were red hot.
Fans shared stories of past experiences with Cage the Elephant, ranging from memories of their first listen, their current favorite tracks, and the last Cage show they attended.
The outdoor courtyard of the KROQ Studios was packed with super fans, making it obvious no one would need assistance remembering lyrics during the performance.
After polishing off their fresh burgers and fries, fans eagerly gathered in the In-N-Out Sound Space, filling every gap in the room. No one wanted the show to start sooner than the person next to them.
But before the concert could officially kick off, Kevin Ryder and Megan Holiday were joined by brothers, Matt and Brad Shultz for a quick chat.
With their history, they were like old friends just catching up before they took the stage.
Then the band took a short intermission and came back under the warm stage lights, more than ready to give the excited fans what they had been waiting for. In addition to the many indie rock tracks fans already love, they intended to share the recently released singles from their upcoming album, “Dying in Reverse.”
The first track of the 12-song setlist, “Beaches in Tennessee,” had every fan moving their feet to the fast-paced introduction. The song’s eerie lyricism focusing on the viewpoint of a surveillance state was reminiscent of a banger song from Cage’s early years. It gave fans exactly what they wanted to hear after waiting two years for this project, which will be released on February 5th, 2027.
Next up was the first track off their most notable album, the Grammy-nominated “Melophobia.” The song “Spiderhead” was a perfect fit for the beginning half of their setlist, keeping up with the fast-paced track before it.
“Cold Cold Cold” was up next and as soon as the catchy melody of Brad Shultz’s guitar took over the room, and lead singer Matt Shultz called out, “Doctor!” everyone in the Sound Space pulled out their phones to capture this memory for a lifetime. “Shake Me Down” followed, the phones stayed out, but the singalong got even louder than before.
A track from their 2011 album, “Thank You Happy Birthday,” was played with every ounce of energy the band had. It’s a unique skill to be able to control your crowd at ease, whilst playing an emotional song that touches on memories of struggle. The stop-and-go rhythm of the soft guitar riffs into a heavy drop of electric guitar and drums was well-exemplified to this point.
What no one expected hear next was the band’s new song, “Dying in Reverse.” While this was their first time playing this song live, superfans had already learned every word of it. Just as it felt like another example of a new song from retro-styles of their first couple albums, the reaction it received likely accomplished the band’s intention of reinventing themselves.
The death-to-ego mentality of the lyricism as well as the feeling of saying “goodbye” that this song represents seemed to resonate with fans in the Sound Space as everyone swayed their arm side-to-side in harmony with the song’s somber sound.
Up next came the songs “Make it Easy” and fan favorite and KROQ classic “Ain’t No Rest for the Wicked.” While fans likely resonated with the themes of hardship, it was as if those in attendance weren’t just singing along, rather they were pleading to be heard.
The audience got up close and personal with Cage when they reached “Telescope,” and Brad jumped into the audience to sang with the fans. At one point he even grabbed the phone of a fan recording him, creating an inevitably viral video and surely a heartfelt moment for the crowd.
As the band played one of their most notable tracks, “Cigarette Daydreams,” fans in the Sound Space belted cheers of excitement and every person in the room knew the lyrics to the song as it became a singalong.
Despite the show coming to an end, the consistent singalong throughout continued as the final track of the setlist, “Come a Little Closer” came next. It’s a classic last song for a Cage the Elephant concert and the fans were all for it. Even those who’d consider themselves “new-ish” fans could sing every lyric of the song’s infamous chorus.
The night ended with a fantastic anthem, a “thank you” to KROQ and the fans who came to watch, and a loud ovation from the crowd that represented a massive “thank you” back towards the band.
Fans grabbed their concert posters on the way out the door and shared their favorite parts of the night, eventually becoming a cherished story rather than just a memory that’s justifiably worth having bragging rights over.
SHOW PHOTO GALLERY
by @sklarbarberio on IG
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November 9, 2026UncategorizedAn Epic Fundraiser for T.S.O.L.’s
MIKE ROCHE
November 9th, 2026 Review by Kevin Gomez
A dozen of the biggest bands in punk gathered Saturday at the Garden Amphitheater to support Mike Roche, founding bassist of Huntington Beach’s legends, T.S.O.L. Roche has been living with Parkinson’s disease since 2017, when symptoms first appeared.
Tickets were completely sold out, with all ticket sales and donations will going directly to Roche. Vendors were ready for this one – Only the main stage was being used, which means shortened sets with early bands getting 20 minutes, while even the evening’s headliners were only playing for 40 minutes.
Rad The Impaler at GARDENAMP
Still, with a compromise of shorter set times, it really did feel like experiencing more than a normal festival with multiple stages and overlapping schedules.
ORANGE COUNTY | CALIFORNIA
Photo by Green-Eyed Blonde Photography
Dissension’s set seemed to set the tone for the rest of the day. The band started off blindingly fast and hectic, with “Number One” followed by “Sandbagged Again.”
The band kept it heavy and fast for “Child Soldier” and “Silverado Park.” They finally finished their 20-minute set with “Pushing Through.”
Love Canal pulled in a solid set opening with, “Got Yer Number.” Their guitarist Eric VonArab said he used to live with Roche a lifetime ago.
He said if he only had a $1.49 in his pocket, he’d buy a chicken meal and split it with him, reflecting – that is the kind of guy Roche is.
T.S.O.L.’s Greg Kuehn joined Love Canal on piano for “Need to Know.”
Death by Stereo wasted no time getting into “No Cuts, No Butts, No Coconuts” with singer Efrem Schulz exploding onto the scene immediately going into a one-armed windmill as drummer Mike Cambra wailed away.
Photo by Green-Eyed Blonde Photography
Schulz really let his voice shine on “Flawed Theology.” SSD’s legendary frontman, Springa took lead vocals for a take on their song “Boiling Point,” leading to the day’s first mosh pit.
They closed out with “Lookin’ Out For #1,” which saw dueling guitar solos first from JP Gericke, then mustached fan favorite, Dan Palmer.
Mainliners hail from and look like they hail from Hollywood, big Social Distortion vibes, like Greasers from the ‘50s.
And yet, looks can be deceiving as the instead of rockabilly, they hit you with pure unadulterated California hardcore.
Photo by Todd Markel Rock Images
Starting with “Life’s Alright,” an intense pit broke out. Lead singer Cash Mathieu is all style as he belts out songs like “Diana” and “Thunderbird.”
The band played a cover of Shane MacGowan and the Popes’ “That Woman’s Got Me Drinking.” They closed a high-energy set with “No Mas Tequila.”
Photo by Green-Eyed Blonde Photography
Manic Hispanic has one of my favorite sets all day, going into “Wasted” and “Mas Chingones” with Schulz, pulling double-duty leading vocals. Gilbert Pichardo took over lead on “Chancla Abuser,” enduring child abuse at the hands of a Latina with slipper in hand.
Pichardo got inspired and jumped off stage straight into the pit (and me) slam dancing for “Pinche Pinche” as Schulz filled in for Louie Perez, III, who unfortunately was absent Saturday. They played “Barrio Hero,” dedicated to their beloved bassist, “El Oso from Fullerton.” They closed on “Paisa,” their take on Rancid’s “Timebomb,” which got the whole crowd skanking.
Guttermouth launched into “Baker’s Dozen,” then thrashed through “Lucky the Donkey” and “1-2-3 Slam” with great guitar from Matt Wills and long-haired Justin VanWesbroak.
Photo by Green-Eyed Blonde Photography
They played my favorite song again, “Perfect World” transitioning seamlessly into “Asshole,” with A.J. Condosta putting on a drum clinic showing precision and timing. Condosta kicked into the drum beat intro for “Lipstick,” their usual closer.
Adolescents were in the running for tightest-sounding band all night. I think this may be my favorite set I’ve ever seen the Orange County icons play. Like his Death by Stereo counterpart Efrem, Mike Cambra was playing double-duty on drums for Death by Stereo and now again.
Photo by Todd Markel Rock Images
I really like what Cambra and Brad Logan on bass bring to the Adolescents live performances. Saturday was no exception. Tony Reflex sang “Queen of Denial” through gritted, snarled teeth. Logan annihilated the bass on the conclusion of “Who is/Self.”
The band tore through “Rip It Up” like a well-oiled machine. Cambra had really impressive drums on “Kids of the Black Hole.” The most vicious pit thus far that night erupted as the band closed with “Amoeba,” with Springa once again returning to assist with vocals.
One of the most anticipated bands of the night, particularly as this was largely a T.S.O.L. crowd was Change Today, featuring Joe Wood on lead vocals and T.S.O.L. guitarist Ron Emory. The first half of the band’s set saw covers off the “Change Today” album including “American Zone,” “Red Shadows,” and “Flowers by the Door.”
Photo by Todd Markel Rock Images
The next part of their set saw Emery taking on lead vocals with Kuehn on keys, T.S.O.L. drummer Antonio Val Hernandez and special guest, Jay Bentley on bass. They played “Property is Theft” and the crowd got rowdy for “Abolish Government / Silent Majority.”
Emory asked if there was anyone who wanted to come up and sing “Code Blue,” their final song, which Rob Simundson gladly took over.
The Vandals kicked things off with “Wanna Be Manor,” going into “Superficial Love.” Singer Dave Quackenbush said they were celebrating the 30th anniversary of their album “The Quickening” by playing “Marry Me,” which was the first time in 23 years.
Photo by John Gilhooley Studios
Joe Escalante led bass backed by guest drummer, Erik “Smelly” Sandin for “Urban Struggle” creating absolute havoc. It seemed like people were crawling on top of each other, as fans stagedove like torpedoes into the crowd. They played the holiday classic, “Oi to the World,” and fan favorite, “Now We Dance.”
To send them off, Quackenbush switched to guitar as Warren Fitzgerald took on vocals for an enthusiastic rendition of “I Have a Date.”
To watch Joey Castillo, drummer for the Circle Jerks, play is to watch a master at work on “Deny Everything” and the hectic “Letterbomb.” A frenetically busy drum opening from Castillo for “Under the Gun,” not included on their setlist. I swear, by the song’s conclusion I saw smoke emanating off all four members as they delivered with a scolding intensity. An absolutely brutal pit broke out for “Wild in the Streets.”
Photo by John Gilhooley Studios
Keith Morris sang “you’re not gonna make it” on “I and I” with such vitriol from the back of his throat against Zander Schloss’ commanding bassline.
They played their rendition of the Morris-penned “Wasted,” and then continued the tradition with a cover of “Nervous Breakdown” obliterating everything in its past.
Photo by Todd Markel Rock Images
Pennywise jumped right into “Wouldn’t It Be Nice” before guitarist Fletcher Dragge dedicated “Rules” to Roche.
Dragge later pointed to Roche, who was standing side stage, and said, “He’s the reason I’m in a fucking band.”
Photo by Todd Markel Rock Images
Drummer Byron McMackin steamrolled through “Straight Ahead” and “You’ll Never Make It” while singer Jim Lindberg spit out lyrics like a machine gun.
Dragge said, “They’re all fucking thieves. They’re all fucking liars. Fuck them, and “Fuck Authority.”
Photo by John Gilhooley Studios
Bob Gilmore from Pulley sat in on drums for “Broken.” Bassist Randy Bradbury played fast and with purpose on “Pennywise” before leading the iconic intro for “Bro Hymn.” The band invited everyone to come up on stage, including El Hefe.
The Offspring took the stage with Dexter Holland saying he thought these were old school fans in the crowd: “You didn’t come here to hear ‘Get a Job.’”
Photo by John Gilhooley Studios
As they have been doing in other cities, they decided to play a mostly punk, mostly old set of their first two albums, opening with, “Session” and “We Are One.”
Photo by John Gilhooley Studios
Most of these songs were ones not played live in decades. Holland said, “No, we need to go older,” and they played “Elders” off their self-titled debut.
What seemed like the heaviest pits of the night detonated into absolute bedlam as the band played “Bad Habit” with Holland singing, “When I go driving I stay in my lane” unleashing hell onto the Garden Amp crowd.
Photo by Todd Markel Rock Images
“You’re Gonna Go Far, Kid” absolutely hit, with Jonah Nimoy, filling in for Noodles, doing him proud with a shredding solo on “The Kids Aren’t Alright.” The band left everything they had for “Self-Esteem.”
What an amazing night of music honoring a truly incredible pioneer in this game. The influence Roche and T.S.O.L. had on generations of fans, and continues to have, was on full display tonight.
I’m glad the community could come together to support a wonderful cause.
SHOW PHOTO GALLERY
by Todd Markel Rock Images
John Gilhooley Studios
Green-Eyed Blonde Photography
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November 9, 2026UncategorizedNEW ORDER
Announces 2027 U.S. Tour
November 9th, 2026 by Traci Turner
Newly crowned Rock and Roll Hall of Famers, New Order will hit the US for a 2027 tour with just a few dates shared for now. The English synth rockers will visit the South in March 2027, but we expect some West Coast dates to be added.
This week, New Order frontman Bernard Sumner will attend the Rock Hall of Fame ceremony, representing Joy Division and New Order for the bands’ joint induction. Then he will jet off to South America with the crew for dates in Brazil, Chile, Argentina, Peru, and Columbia.
In March, New Order will kick things off in Austin, hit Fort Worth, Houston, New Orleans, and Nashville, then close the leg out in Miami.
Unfortunately, the “Blue Monday” legends may be missing a few members. While Sumner is still handling vocals and guitar, Phil Cunningham has guitar and keyboards, and Tom Chapman handles bass, founding members Stephen Morris (drums) and Gillian Gilbert (keyboards) are expected to sit things out. The husband-and-wife duo have taken a hiatus as Gilbert undergoes cancer treatment.
The limited tour will have rotating support from Future Islands, Zachery Allan Starkey, and DJ Arthur Baker.
This is the band’s first tour in the US since 2023, although they did play Cruel World last year. In addition to “Blue Monday,” we can expect other classics, like “True Faith,” “Bizarre Love Triangle,” “Age of Consent,” “Temptation,” “Regret,” “Ceremony,” and “The Perfect Kiss.”
Tickets for these dates will have various presales this week with the general on sale starting Friday at 10 a.m. local time.
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November 8, 2026UncategorizedTHE UNSTOPPABLE TOUR
Electrifies San Diego
November 6th, 2026 Review by Jimmy Alvarez
Coming off an electrifying night in Anaheim, UB40 brought its Unstoppable tour down the I-5 South to San Diego’s North Island Open Air Amphitheatre. This night would prove to be a little different than most: One, it was Halloween night; and two, there was rain, thunder, and lightning! The backdrop for this performance would be very memorable!
As we pulled up to the venue, we ran into a few people walking in, no different than any other show, but their stories would prove to be a microcosm of the band’s career. As you would expect, since the venue is adjacent to San Diego State University, there were lots of teenage kids floating about dressed as doctors, nurses, ghosts, and goblins. But that’s not the story; the story was hearing from fans what the band meant to them.
For example, Dave and Mary Sanchez just pulled in from Phoenix. When asked why they drove out that far, they said they met on Halloween night, 1983. They fell in love with the band and their Elvis cover of “(I Can’t Help) Falling in Love with You” was their first dance as man and wife. So, as Mary put it, “Damn right we’re gonna be here tonight!”
CAL COAST CREDIT UNION OPEN AIR THEATRE
San Diego, California
October 31st, 2026
The weather did not detour fans as they showed up in droves. As we waited for the show to start, fans started to line up against the barricade, and story after story was told about what UB40 meant to all.
One guy, who only said his name was Brandon, said when he was in college, he had a tragedy fall on his family, and was far from home and had to wait to see what the news was if the news would be OK or if would be devasting. The guy in the room across the hall was always playing reggae music, and he had a song on repeat. It was catchy and kept repeating the words. Eventually he got the news that all would be OK, the song was “Johnny Too Bad” by UB40. He said it was a way for him to thank the universe and pay homage to the band that got him through a dark moment in his life. The stories kept coming, and eventually so did the rain.
Finally, it was time for the show, and the opener was Gramps Morgan. Sadly, I can’t say I was familiar with him or his music, and thankfully for me, that would quickly change. As the set started, we had no idea where the vocals were coming from, and out from the rear of the stage came the large Jamaican man that had a booming voice; it was like the voice from above.
He opened with “Positive Vibration,” and immediately segued into “If You’re Looking for Me.” I guess I must have been living under a rock because as I looked back at the crowd, countless fans were singing every word to the song.
He said he was from the islands by way of Nashville, and I have to say, what a presence he had! What made it for great entertainment, he kept going back and forth with a Jamaican accent to sounding like Johnny Cash; AND he was funny. I loved his song “Don’t Put Water in My Whisky,” which made everyone laugh.
He sounded fantastic, that voice was so striking, and he was a great storyteller. He paid homage to Harry Belafonte with a snippet of “Day-O (The Banana Boat Song).”
I really wish I could catch him doing a full set because he was that entertaining. He played a few other songs that made the crowd cheer, “Down by the River,” “Feels So Right,” and yes, a classic country cover of Kenny Rogers “The Gambler.” I have never heard that song delivered like that and it was amazing! Before we knew it, Gramps Morgan said goodnight and the crowd started to fill in, ready for UB40.
By now the rain was a little heavier and steady, but it did not adversely impact the festive atmosphere. Then it was time, out came UB40 and the crowd erupted. Opening with “One in Ten,” UB40 displayed that signature sound that has captured the hearts and souls of fans worldwide.
Lead singer Matt Doyle belted out classics in such a soulful way fans were mesmerized – a Jimmy Cliff cover followed “Many Rivers to Cross,” followed by a Temptations cover, “The Way You Do the Things You Do,” followed by “Homely Girl.”
Doyle welcomed everyone to the show and dove into the hit parade, “Sing Our Own Song,” “Rat in Mi Kitchen,” another Jimmy Cliff cover “Many Rivers to Cross,” and “Cherry Oh Baby” off “Labour of Love.”
As the crowd cheered founding member Robin Campbell thanked everyone again for coming out and said they had played San Diego many times but not on a night like this.
He introduced the band, drummer Jimmy Brown, then vocalist Gilly G and his son Matt Campbell… and with a great comic delivery he paused looked at all the other guys in the band and said, the rest are ancient which drew a large laugh from the crowd.
The next hit parade took off with “Kingston Town,” and the Neil Diamond cover everyone in the house knew, even security, “Red Red Wine!” Doyle was on fire, and so was vocalist Gilly G, the duo knew how to deliver on this classic UB40 set and their lifetime fans recognized how special these songs are.
As the rain got a little stronger, so did the force of the music, almost as if it willed the rain to tame itself for a little longer. Mother nature cooperated and it was time for everyone’s favorite Al Green cover, “Here I am (Come and Take Me)” followed by Shania Twain’s “You’re Still the One.”
That was such an emotional moment, some fans were in tears as they took in the timeless classic and followed with “Impossible Love.”
As the night was coming to an end, the most appropriate song of the night closed the show, “(I Can’t Help) Falling in Love with You!”
As I looked back on the crowd, I spotted Dave and Mary, and waved to them, Mary in tears waved back and shouted “They’re playing our song!”
SHOW PHOTO GALLERY
by Green-Eyed Blonde Photography
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November 6, 2026UncategorizedLive from Bridgestone Arena – Nashville
November 5th, 2026 Review by Traci Turner
Three Days Grace’s Alienation Tour stopped in Nashville and melted everyone’s faces off. Three incredible bands, scads of pyro, plus a costumed mosh pit of characters.
The night was my introduction to The Funeral Portrait, and I already look forward to seeing the Atlanta band again. Lee Jennings is an engaging frontman who speaks from the heart, performed some epic combat maneuvers, and made me crave more of their catalog.
They kicked the evening off with their hugely popular cover of Tears for Fears’ “Mad World” followed by “Holy Mind.” By “Generation Psycho,” I was hooked and “Blood Mother” sealed the deal. Jennings had everyone take out their phones and light them up during “Voodoo Doll” and it showed the venue was nicely packed already.
Donning a cowboy hat, Jennings asked, “Is it cool if we get a little y’all-ternative with you?” He told the story of a record exec telling him he would need to lose 100 pounds to be successful as a frontman. In response the band and the audience raised middle fingers in that exec’s honor.
“Holy Water” was followed by the live debut of “My Future Prediction,” their newest song, which will drop on Friday. “Dark Thoughts” and the My Chemical Romance-ish “Suffocate City” closed their set.
When the arena darkened, I PREVAIL was shown in bold red letters on a black screen behind the stage. Red lights began flashing, a thundering bass riff began, and the band walked out. Then frontman Eric Vanlerberghe growled, “Nashville, turn it the fuck up!”
What followed was a screaming, howling, epically loud set with a crap ton of pyro. I Prevail launched into “NOW” and “Bow Down” before Vanlerberghe asked to see the mosh pit. As it was the day after Halloween – at least, I assume that’s why – a group was dressed in various costumes that included a hot dog, a pickle, a bottle of Fireball, and Pikachu. He said it was time to get the pit moving and that brought “Self-Destruction.”
The thundering drums in “There’s Fear in Letting Go” were super impressive and Vanlerberghe once again checked on the pit, joking, “The pit has been too chill! What are you doing, Pikachu? Pooh? Teletubbies? Whatever!” He said, “Some of you are thinking ‘I am sick of this screamo shit. I’m here for Three Days Grace.’” But the crowd screamed in support and kept it up for “Choke.”
After “Hurricane” and “Bad Things,” there was a snippet of Metallica’s “Sad but True,” and Vanlerberghe yelled, “Get your fists in the mother fuckin’ sky!”
He intro-ed the next song, “This next one is a newer one about the weather. It’s called ‘Rain.’” Gabe Helguera’s drumming blew me away on this one, and an epic drum solo followed.
After “God,” Vanlerberghe growled, “We’ve got two more song and they are ass beaters, baby!” They then released all the things – lights, fire, fog, screams to go with “Violent Nature.”
In the middle of their closer, “Gasoline,” Vanlerberghe stated, “We’ve got two more minutes. Get on your feet; love me or hate me, you will respect me. Get up!” The few remaining sitters complied.
I Prevail. Ok, I get it. Respect.
While it already felt like we experienced a full rock show, there was still the headliner to go. I last saw Three Days Grace in 2023 with Matt Walst as the frontman, but on that night, they brought former frontman Adam Gontier onstage to sing a few songs. After that show, Gontier rejoined the band and he and Walst share singing duties – it works.
As the humungous white words, “LET’S FUCKING GO,” flashed on the black screen, Three Days Grace almost seems more subtle in their entrance, but once the lights hit, the screams started and “Dominate” got things going.
As “Animal I Have Become,” began, the fans started screaming in appreciation. Walst and Gontier traded vocals and covered the full stage, getting the crowd into the singalong. Gontier visited each band member, making funny hand gestures in front of guitarist Barry Stock, who always amazes me.
It was at this point I looked at the drummer and went, “Wait a sec! That’s Shaun!” TDG drummer Neil Sanderson was injured last month and underwent surgery last week for a ruptured tendon in his left bicep. Despite this, he was still onstage playing keyboards and providing background vocals. But behind the kit as he heals is former Breaking Benjamin drummer, Shaun Foist, who appeared to be having an absolute blast.
“So Called Life” and “Break” were next, after which Gontier gave details on Sanderson’s injury, then said the next song was about feeling like a machine going through the motions,” “I Am Machine.”
Gontier stopped to give the history of the band, their childhoods in Canada, their albums, his departure in 2013, and said, “But these guys kept going, they kept it alive, and I am so grateful. We would not be here if not for Matt and the guys.” This led to “The Mountain.”
Last year TDG released “Alienation,” their first album with the two singers. After they did a single from it, “Kill Me Fast,” Gontier said it had been written in the Nashville area, where he now lives. But he said it was time to go back to the oldest TDG song, and that it “can be an anthem about breakups, or drugs,” “I Hate Everything About You.”
Walst announced it was time to go back to the 2000s, “when shit was still good,” there were no smart phones, and we had CDs. A medley of the frontmen’s solo tracks, “Gone Forever,” “Porn Star Dancing,” and “I Don’t Care” provided a party and when it ended, Walst told Gontier, “These are our people!”
The mosh pit was crazy during “Time of Dying,” but then the band slowed things down. Gontier spoke of their Canadian childhoods in a tiny town with “only one of everything.” He said there were three things to do there: sports, drugs, or music. He joked that they had dipped into some of the other, but “luckily we are here to do this.” He invited a special guest out – his cousin, Saint Asonia bassist, Cale Gontier.
What followed was an emotional rendition of “Don’t Wanna Go Home Tonight” complete with a video montage of childhood photos, early touring images, and a lookback and the band’s entire history.
Things got changed up as the band moved to an acoustic portion, complete with camp chairs around a firepit and a starry sky behind them. “Lost in You” was done with them sitting around the camp fire and Gontier said, “This is how it all began; sitting around together singing.”
As much as I adore “Pain” as a rock song, the stripped down version was lovely. “Lifetime” was introduced as a “song for everyone who has lost somebody,” and we were instructed to light up the arena with our phones. “Let’s light this up for everyone looking over us from heaven,” exclaimed Gontier.
To wrap the simpler set portion up, the lights went off and Gontier was spotlighted on the stage walkout as he sang a portion of 3 Doors Down’s “Here Without You” acapella before having the crowd assist.
We were back to the full band rock show with “World So Cold” and “Just Like You,” which included The Funeral Portrait’s Jennings onstage to be a vocal trio. Once again I noticed Foist smiling brightly behind the kit, spinning his drumsticks in between hits.
Following “Mayday,” Walst gave the order we had to follow: “I know it is Sunday, but let’s party like it’s Saturday. Call your boss and say ‘I was partying with TDG, so fuck off!’”
“The Good Life,” “Painkiller,” and “Never Too Late” were crowd pleasers with what seemed like the entire arena singing along.
After leading the packed venue in a “Riot!” call and response, Walst yelled, “Keep that mosh pit going. Keep the crowdsurfing going. Let’s. Start. A rrriiiioooootttt!” Obviously, “Riot” wrapped the set.
An absolutely amazing night of growls, screams, green hair, fire, and riots (the good kind). Plus, some fantastic fucking music, courtesy of Three Days Grace, I Prevail, and The Funeral Portrait. The Alienation Tour marches west and will stop in SoCal November 20th at Viejas Arena in San Diego, and November 22nd at the Intuit Dome in LA.
SHOW PHOTO GALLERY
by Stephanie Pepper Photography
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November 6, 2026UncategorizedLive from The Constellation – Santa Ana
November 5th, 2026 Review by Amaris Becker
The show was sold out weeks ago. Grohl was on the bill. Everybody in the Constellation Room on Thursday knew all about her roots, but that was not the topic of conversation. People were there to hear Violet Grohl play her new album on shuffle.
The Constellation Room at the Observatory holds around 250 people. It may be a venue too small for her last name, but it fits her. Her debut album, “Be Sweet to Me,” which dropped in May, and during 12-song set, she went through the length of her catalog and then one.
Suzy Clue opened dressed as an airline stewardess with 2000s emo bangs, circa Britney Spears in the “Toxic” video, and most of her stage presence mimicked that era. She embraced the party girl sex symbol of her idol. She wanted the room to want her, and by the end of her set they did.
She played into a fan onstage, blowing her hair back. She sold underwear at her merch table. Tequila went around. A man came out of the audience claiming to be her biggest fan and then played her next song on guitar perfectly.
By the end the audience was on the stage, her now instrument-less guitarist was riding on a man’s back, and they danced until the mics were turned off.
Thirty minutes later Violet Grohl came out in a black maxi skirt and a long-sleeve shirt and did almost none of that.
She opened with “Bug in the Cake,” into “THUM” and “Last Day,” then “Cool Buzz” and “Stimulant Breakfast.” She announced every song by name and kept the audience interaction minimal, the occasional thank you for coming, that she was honored to be here. There was a vibe to her, something close to too cool to be here, mysterious, but it worked.
Her music is not music you dance to. That was her opener. This is music you sway to. “Big Memory” and “Mobile Star” are where you can hear exactly why she gets filed under shoegaze, layered and distorted vocals. “Swallowtail” came next and kept the same energy. She introduced her band mid set.
“Pool of My Dreams” got the biggest response of the night and deserved it. “Sun Is Blind,” still unreleased, came as a treat and made the case better than anything else in the set that she knew how to perform. By “Applefish” the phones were up and videos were being taken, which they mostly had not been until then, and the whole front of the room was mouthing the words. “595” came next, and she closed with “Plastic Couch.”
Some fans up front were head banging and what I found interesting is the taller audience members hung back. You don’t need to be upfront to make eye contact with the band in that venue. I went in worried that a good portion of them were only there to catch a glimpse of a famous man’s DNA. She has her own following, and it showed.
People told me they had attended her LA show as well. Somewhere in the middle of the set a voice yelled, “You’re so cool, Violet!” A little later another one yelled, “You’re good at this, Violet!”
At one point, somebody yelled, “Fuck you, Violet!” which in a room that size has to be a compliment. She did not take the bait on any of it. A true professional, she just kept going.
There was a stark contrast between her and the opener. Suzy Clue was all energy and extroverted, Grohl stayed mysterious and let her voice stand for itself.
She may have had doors open for her but they stayed open for a reason, and her sold-out shows prove it.
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by Todd Markel Rock Images
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November 5, 2026UncategorizedThe Offspring & .48 Special
Headline Rock 2 Freedom at The Wiltern
November 5th, 2026 Review by Michelle Pase
When you think of In-N-Out Burger, a few things probably come to mind. Incredible burgers, fresh-cut fries, and a company with an incredibly loyal following. But at the Wiltern, In-N-Out showed off another side of its personality, and it absolutely rocked.
Company president Lynsi Snyder traded the boardroom for the stage, add in a seriously talented employee band, a former guitarist from Korn, and punk rock legends The Offspring, and you had the makings of one unforgettable night.
The sixth annual Rock 2 Freedom benefit brought together more than 1,900 guests for a sold-out evening featuring In-N-Out’s company band, .48 Special, and Southern California punk rock favorites, The Offspring. Presented in partnership with KROQ, the show benefited Slave 2 Nothing, In-N-Out’s charitable foundation supporting organizations fighting substance abuse and human trafficking.
By night’s end, the event had raised an impressive $978,850. Along the way, it delivered a genuinely entertaining rock show with some a few surprises few saw coming.
KROQ personality Megan Holiday hosted the festivities, bringing her familiar enthusiasm to the evening.
Holiday also shared her personal experiences with addiction and recovery, discussing her Life of the Party charity and adding another meaningful connection to the cause.
The crowd was a lively combination of In-N-Out employees, company leadership, families, and longtime Offspring fans. It felt part company celebration, part punk-rock concert, and part fundraiser. Somehow, the combination worked beautifully.
First up was .48 Special, In-N-Out’s employee band, led by company president and owner Lynsi Snyder.
Now, corporate bands can be a mixed bag. Sometimes they’re entertaining simply because it is fun watching coworkers cut loose. Other times, they turn out to be surprisingly talented.
.48 Special was firmly in the latter category.
Opening with Korn’s “Blind,” the band immediately made it clear this wasn’t going to be a collection of predictable party covers. Better yet, former Korn guitarist Wes Geer joined them onstage, giving the opening number some additional firepower.
Their ambitious 17-song set pulled from an impressive range of rock heavyweights, including Alice in Chains, Nirvana, Rage Against the Machine, Deftones, Led Zeppelin, Van Halen, and the Red Hot Chili Peppers. Multiple employees took turns in the spotlight, demonstrating legitimate musical chops and an obvious love of performing.
These weren’t abbreviated renditions, either. The band tackled full songs, including Led Zeppelin’s “Kashmir,” complete with a live string section. It was an impressive production that went well beyond anything you’d expect from a company house band.
But the music was only part of the surprise.
The performance featured elaborate aerial acts, choreographed dance numbers, and fire performances that wouldn’t have seemed out of place in a Cirque du Soleil production. During Van Halen’s “Hot for Teacher,” the dancers brought a little extra attitude and playful heat to the stage.
And right in the middle of the action was Snyder herself.
She wasn’t content to simply stand behind a microphone or play a few basslines. Snyder sang, played bass, danced, performed aerial routines, and participated in the fire acts. She genuinely looked like she was having the time of her life. This while alongside her husband Sean who shredded on the guitar.
Watching the president of a major American corporation completely embrace her inner rock star, surrounded by employees doing the same, was one of the most entertaining aspects of the evening. In-N-Out has always had its own distinctive culture, but this was a side of the company most customers probably never imagined.
Still, Rock 2 Freedom had a purpose beyond the entertainment.
Throughout the evening, Snyder spoke about the foundation’s mission and the devastating effects of addiction and human trafficking. One particularly moving moment came when she explained that In-N-Out restaurants stock Narcan, a medication capable of reversing opioid overdoses and train their employees to administer it.
She then introduced videos featuring employees describing occasions when they had actually used Narcan to save customers’ lives. It was a powerful reminder that the company’s commitment to fighting addiction extends well beyond financial contributions.
Fundraising activities included raffles and auctions, with prizes ranging from an In-N-Out Cookout Truck experience featuring more than 300 burgers to two first-class Disney Aulani vacation packages, each bringing in more than $25,000. An Offspring experience featuring a band-signed Ibanez guitar and meet-and-greet also raised $20,000!
Then it was time for The Offspring.
Few bands have played a bigger role in bringing Southern California punk rock into the mainstream. With decades of hits behind them, Dexter Holland and company had plenty of material to keep the Wiltern rocking.
Opening with “Come Out and Play,” the band immediately had the crowd singing along. “All I Want,” “Want You Bad,” “Bad Habit,” “Gotta Get Away,” and “The Kids Aren’t Alright” kept the energy high, delivering the familiar combination of fast guitars, infectious hooks, and punk attitude.
Holland sounded terrific, balancing the band’s aggressive material with his trademark humor. Longtime guitarist Kevin “Noodles” Wasserman was absent while addressing a serious medical issue, with band member Jonah Nimoy handling guitar duties.
The group also brought along its enormous inflatable half-skeletons, complete with smoke pouring from their mouths, adding another layer of theatrical fun to the performance.
The general admission floor was filled with enthusiastic fans dancing, jumping, and singing throughout the set. There wasn’t much of a traditional punk pit, although our staff photographer made an unsuccessful attempt to get one going. Hey, you can’t blame a guy for trying.
Naturally, “Pretty Fly (for a White Guy)” and “You’re Gonna Go Far, Kid” brought big reactions, but the closing “Self Esteem” delivered one of the night’s most memorable moments.
In typical Offspring fashion, Holland stopped the song before its familiar breakdown to get the crowd fired up. This time, he joked that the folks at In-N-Out, a company known for its Christian values, had politely requested that the band avoid certain language whenever possible.
The comment drew plenty of laughs before Holland turned the song over to the audience for a massive singalong. It was classic Offspring: funny, irreverent, and just mischievous enough to keep everyone smiling.
By the time the final notes rang out, Rock 2 Freedom had delivered far more than an entertaining concert.
Since its founding in 2016, Slave 2 Nothing has awarded more than $23 million to organizations helping people affected by substance abuse and human trafficking. In-N-Out covers the event and foundation operating expenses, allowing 100 percent of the money raised to support the charitable mission.
Perhaps the biggest takeaway, beyond the music, was the impression left by the people behind the event. Every In-N-Out representative I encountered was welcoming, enthusiastic, and genuinely invested in making the evening special. From the production to the performances and fundraising, the entire night was exceptionally well executed.
It’s easy for a corporation to talk about family, community, and giving back. It’s something else to see those values demonstrated through its employees, leadership, and the lives their efforts have touched.
Rock 2 Freedom delivered a terrific night of music while raising nearly a million dollars for people who could genuinely use the help.
And somewhere between the Korn covers, flying company president, and a theater full of people singing “Self Esteem,” In-N-Out reminded everyone that sometimes doing something good can also be a heck of a lot of fun.
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by Shane Pase Photogrpahy
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November 5, 2026UncategorizedINDUSTRY REPORT # 76
We’re Old School: A Chat with Chart Attack
November 5th, 2026 by Kevin Gomez
The term cover band can often get a pretty bad rap. Even now, you’re probably envisioning a lounge act at a local dive bar playing to a nearly empty room, as they belt out a terrible rendition of “Don’t Stop Believing.” But consider that same term can be used to describe the premiere cover band that is Spike and The Gimme Gimmes or Sweet and Tender Hooligans.
There’s a reason why Chart Attack’s home page lists in large font with an asterisk, “not a cover band.”
And with all due respect, they really are elevating the possibilities of what a cover band can do and giving a unique spin on the genre.
I spoke with their guitarist, Cornelius, “Corny” about how Chart Attack got started, how they pregame at their age, and their new album, “Age Against Machine” released October 30th.
I first caught Chart Attack live at last year’s Punk in the Park in San Pedro. If you’re not familiar with the band their presence might be a bit shocking at first – four gentlemen in their senior years, who look more like they are about to tee off from the greens than play a punk show. And yet despite their comedic timing, you realize their playing and live show is far from laughable.
To call them just a cover band would be selling them short, as they re-envision popular hard rock and metal songs into catchy pop punk. Corny said they like to refer to their catalogue as “original covers.” He told me the band was created to take popular songs where you already know the lyrics and turn it into a fun punk show you can sing along to all the words in “a style we prefer.”
Sometimes they’ll even create mashups of multiple songs. Corny explained that their take on “Break Stuff” is basically Sublime’s cover of Bad Religion’s “We’re Only Gonna Die for Our Arrogance,” but with the lyrics to “Break Stuff” sung over it. So, how does Fred Durst feel about it? When the band posted a clip to social media, the Limp Bizkit frontman replied with an applause emoji.
Limp Bizkit is not the first nü metal band they’ve covered, and Durst is not the only frontman to give positive feedback. Chart Attack reimagined Korn’s “Freak on a Leash” in the style of A Day to Remember. It’s as bizarre and fun as it sounds, especially the song’s famous breakdown which they turn into something akin to “Kiss from a Rose.” They posted on social media that they were going to release the song next week unless Korn lead singer Jonathan Davis said “no,” and then tagged him. Davis replied with, “no,” to which the band responded, “oh, you want us to release it early this week?” This prompted several laugh emojis from Davis.
Chart Attack, much like the Gimmes have a very tongue-in-cheek, “in on the joke” style that’s seriously hilarious. Given their funny covers and humor, it’s no surprise Chart Attack are huge fans of “Weird Al” Yankovic. “The G.O.A.T.” Corny said about the legendary comedic singer, “the original… and he’s still awesome to this day.”
For their latest effort, “Age Against the Machine,” Chart Attack brought along some friends. LetLive’s Jason Butler provides guest vocals on “Killing in the Name.” Candlebox’s Kevin Martin provides vocals on the band’s cover of Alice in Chain’s “Man in the Box.”
This is particularly special Corny tells me because “ was friends with Layne Staley, so he was excited to honor him.” Rounding out the cast is Bowling for Soup’s Jaret Reddick doing vocals on Blind Melon’s “No Rain.”
Be sure to download “Age Against the Machine” and support Chart Attack. Despite all the laughs, this is actually a really special project that’s near and dear to their hearts, as evidenced by all the hard work that’s gone into the recording process.
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November 4, 2026UncategorizedLIVE FROM CHULA VISTA
November 4th, 2026 by Shane Pase
There are plenty of ways to spend the night before Halloween in Southern California, but celebrating two of the most wonderfully bizarre bands to emerge from the late 1970s is pretty hard to beat.
Friday night, the B-52s and DEVO brought their Cosmic De-Evolution Tour to North Island Credit Union Amphitheatre, delivering an evening of infectious music, outrageous costumes, and new wave nostalgia.
Both bands built their careers embracing the unusual, challenging musical conventions, and proving that being different was worth celebrating. Nearly five decades later, that spirit remains alive.
The audience understood the assignment. Halloween costumes were everywhere, mixed among DEVO’s familiar red energy domes and B-52s fans. What made the evening particularly enjoyable was the remarkable range of ages in attendance. Young children accompanied parents, while adult children brought parents who had grown up with these bands. Great music has a way of crossing generational boundaries.
The B-52s took the stage first, bringing their unmistakable blend of surf rock, dance music, punk attitude, and eccentric personalities to an enthusiastic crowd.
Opening with “Planet Claire,” the band transported the audience back to late-1970s Athens, Georgia, where they developed a sound unlike anything else on the radio. The song’s hypnotic opening and quirky science-fiction atmosphere established the mood for a set celebrating their extraordinary catalog.
“Mesopotamia” followed, along with “Give Me Back My Man” and “6060-842,” reminding everyone that the B-52s were making fascinating music long before their commercial breakthrough with “Cosmic Thing” in 1989.
One of the evening’s highlights was Kate Pierson, who remains an absolute force onstage. Her voice sounded terrific, and her enthusiasm was impossible to miss. Dancing throughout the performance, Pierson brought the playful energy that has helped define the band for decades. She was unquestionably one of the evening’s standout performers.
Fred Schneider’s wonderfully odd vocal delivery and Cindy Wilson’s distinctive presence remain essential parts of the band’s unmistakable identity. Together, they helped create a sound that influenced generations of alternative musicians.
The middle of the set featured “Deadbeat Club,” “52 Girls,” and the irresistible “Roam,” which had the audience singing along. “Party Out of Bounds” and “Dance This Mess Around” kept things moving before another fan favorite, “Private Idaho.”
Of course, everyone knew what was coming.
“Love Shack” turned the amphitheater into one enormous party, with thousands of voices joining in on a song that remains entertaining decades after dominating radio and MTV.
The band closed with “Rock Lobster,” their gloriously ridiculous signature song that sounds as wonderfully strange today as it did in 1978. Adding to the fun, a performer dressed as a giant lobster appeared, dancing around the stage and providing the perfect visual accompaniment to one of rock’s most delightfully absurd songs.
It was exactly the kind of moment that makes a B-52s concert memorable, particularly on Halloween weekend.
Following the B-52s was never going to be easy, but DEVO didn’t simply match the evening’s energy. They took it somewhere entirely different.
The performance began with a hilarious video montage featuring the band’s fictional manager, Rod Rooter, berating the musicians during their early years. The footage jumped forward to the present, where the manager was apparently no more impressed with the band than decades earlier.
Classic DEVO: absurd, self-deprecating, and thoroughly entertaining.
Then the band hit the stage, and things got serious. Well, as serious as things ever get with DEVO.
Opening with “Don’t Shoot (I’m a Man),” the band demonstrated that beneath the strange outfits, robotic movements, and satirical imagery is an incredibly tight group of musicians.
“Peek-A-Boo!” and “Going Under” followed, delivering aggressive rhythms, angular guitars, and driving synths that helped establish DEVO as one of new wave’s most influential bands.
And they sounded absolutely fantastic.
Mark Mothersbaugh and Gerald Casale remain captivating performers, leading a band that plays with remarkable precision and intensity. The music was powerful, the vocals sounded great, and the production was far more theatrical than a typical rock concert.
DEVO has always been as much about presentation as music, and Friday’s performance was a perfect example. The evening featured their familiar visual identities, including spud imagery, iconic red energy domes, and yellow protective suits.
During “Planet Earth,” the band emerged wearing their famous red energy domes. Mothersbaugh tossed several into the audience, delighting fans lucky enough to be within throwing distance. Catching one of those iconic hats would be a spectacular concert souvenir.
“Whip It” sounded magnificent. Its unforgettable rhythm and synth lines had the audience moving. More than four decades after becoming an MTV staple, it remains a terrific piece of music that launched them into stardom.
Following a Carl Sagan video interlude and costume change, DEVO returned in their yellow protective suits for one of the evening’s most entertaining moments.
“Uncontrollable Urge” exploded with the raw energy of the band’s earliest recordings. As the song progressed, Mothersbaugh took its title literally, demonstrating his uncontrollable urge by tearing pieces from his yellow suit. Not content with destroying his own outfit, he moved on to his bandmates, ripping away sections of their suits piece by piece.
It was hilarious, chaotic, and absolutely perfect for the song. Watching DEVO transform an aggressive early track into a bizarre theatrical spectacle demonstrated how brilliantly they combine music, satire, and performance art.
“Blockhead,” “Mongoloid,” and the confrontational “Jocko Homo” followed, reminding everyone that DEVO’s roots extend beyond the synth-driven pop music many casual listeners remember.
There’s a strong punk-rock foundation running through their early material and hearing these songs live makes that connection unmistakable.
“Smart Patrol/Mr. DNA” and “Gates of Steel” continued the musical assault before the band’s corporate anthem video set up the closing number.
“Freedom of Choice” brought the evening to a fitting conclusion, with the audience celebrating one last reminder of DEVO’s peculiar brilliance.
What made the performance impressive wasn’t simply nostalgia. DEVO remains an outstanding live band. Their music is challenging, creative, and remarkably energetic, and their ability to combine social commentary with entertaining performances is something few artists have matched.
Pairing the B-52s with DEVO was inspired. Both emerged when musicians were questioning what rock music was supposed to sound and look like. Both rejected convention, embraced eccentricity, and helped shape alternative music.
Yet their approaches couldn’t be more different.
The B-52s invite everyone to join the party. DEVO invites everyone to question why the party exists in the first place. Together, they delivered an entertaining Halloween weekend celebration filled with great music, memorable performances, and plenty of reasons to smile.
Nearly 50 years after these bands first appeared, the B-52s’ music still makes people dance, DEVO still makes people think, and both have created legacies proving that a little weirdness never goes out of style.
And frankly, the world could use a whole lot more of it.
SHOW PHOTO GALLERY
by Shane Pase Photography
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November 3, 2026UncategorizedReturns to Kia Forum
November 3rd, 2026 by Derek Tobias
Forty years ago, Slayer and Rick Rubin turned a Def Jam side project into “Reign in Blood” – 10 songs, 28 minutes, and the blueprint for everything extreme metal became after it. This year, Slayer has marked the anniversary on the road, from Mystic Lake Amphitheater to Rocklahoma to Mexico City. Now the tour lands in Los Angeles.
Next week, November 13th and 14th, Slayer will perform two sold-out shows at Kia Forum in Inglewood. It’s Slayer’s first LA show in seven years, back in the building where they played their farewell concert in 2019. Tom Araya, Kerry King, Gary Holt, and Paul Bostaph will be joined by Cannibal Corpse, Cavalera (Max & Iggor performing Sepultura’s Chaos A.D.), and Crowbar.
The 40th Anniversary Tour is built as a double-part show. Part one is a career-spanning run through the Slayer catalog. Then the album takes over, and “Reign in Blood” is played front to back, in the order it was sequenced.
A Slayer show has never been a passive experience. This is a band built for pits, not sing-alongs, with a wall of sound that becomes a wall of bodies the second the first riff hits. It’s also a full sensory assault. Banks of speakers are flanked by pyro rigs that erupt into fire in the shape of Slayer’s signature inverted cross, with flames licking up behind the band all night. No gimmicks stand in for the music, just a band that still plays like they mean every second of it.
Add a bill stacked with Cannibal Corpse, Cavalera, and Crowbar, and the Forum becomes a night-long argument for why extreme metal hits harder live than it does through headphones.
If you’ve got tickets, see you in the pit.
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November 2, 2026UncategorizedTHE BLACK PARADE TOUR
Electrifies Hollywood Bowl
November 2nd, 2026 Review by Shane Pase
When My Chemical Romance released “The Black Parade” in 2006, they weren’t simply putting out another rock album. Building on their post-hardcore and emo roots, the band embraced the theatrical ambitions of Queen, the conceptual storytelling of Pink Floyd, and the larger-than-life presentation of classic arena rock. The result was an album that helped define a generation of alternative music.
Twenty years later, MCR brought that vision to the Hollywood Bowl, transforming the album into something that blurred the lines between a rock concert, a Broadway musical, and a dystopian stage play. It was a rock opera in the grandest sense, embracing heightened emotions, dark imagery, and sweeping storytelling reminiscent of the Romantic tradition.
And they pulled it off spectacularly.
Arriving around 5:45 p.m., I encountered thousands of fans dressed in black, elaborate makeup, and military-inspired costumes. It looked as though every Hot Topic in Southern California had emptied into the Hollywood Hills. And I mean that affectionately.
The generational diversity was equally impressive. Fans who grew up with MCR stood alongside teenagers discovering their music, while parents accompanied their kids, some wearing their own Black Parade uniforms.
The theatrical production began before the band played a note.
An ominous cinematic presentation introduced the fictional authoritarian world of Draag, complete with a television newscaster reporting on the First Battle of Gubrick. Actors brought the conflict onto the stage amid simulated gunfire, establishing that this would be far more than a concert with fancy lighting.
Then came one of the evening’s first memorable moments.
Photo by Jesse DeFlorio Courtesy of Live Nation
As the United States of Draag anthem filled the Bowl, hauntingly performed by opera singer Lucy Joy Althus, reimagined American flags moved through the Bowl and audience. Meanwhile, the massive stage began rotating, revealing the band standing in position, heads down, ready to perform.
It was brilliant stagecraft, reminiscent of the old arena-rock days when bands played behind enormous curtains before dropping them for the big reveal. Sometimes those classic theatrical tricks still work better than anything technology can dream up.
Photo by Jesse DeFlorio Courtesy of Live Nation
Gerard Way, guitarists Ray Toro and Frank Iero, bassist Mikey Way, and drummer Jarrod Alexander launched into “The End.” and “Dead!,” establishing the night’s musical intensity.
The band sounded fantastic. Toro’s soaring leads complemented Iero’s aggressive rhythm playing, while Mikey Way and Alexander provided a powerful foundation. Gerard demonstrated his vocal versatility, shifting between theatrical delivery, emotional vulnerability, and the raw aggression of MCR’s punk-influenced roots.
The theatrics were only getting started.
Photo by Jesse DeFlorio Courtesy of Live Nation
Between songs, Gerard delivered an absurd propaganda presentation explaining Draag’s takeover of America. Complete with visual aids, the sequence played like a darkly comedic government briefing from a country where reality had taken a strange turn. A brief reworking of Woody Guthrie’s “This Land Is Your Land” added another surreal element.
Performing “The Black Parade” in full, the band moved through “This Is How I Disappear,” “The Sharpest Lives,” “Welcome to the Black Parade,” “I Don’t Love You,” and “House of Wolves.”
Photo by Jesse DeFlorio Courtesy of Live Nation
Few songs from the mid-2000s alternative movement are as recognizable as “Welcome to the Black Parade.” When those opening piano notes rang through the Hollywood Bowl, thousands of voices joined Gerard, creating one of those collective moments that reminds you why live music remains so powerful.
But this was far more than nostalgia.
Photo by Jesse DeFlorio Courtesy of Live Nation
Throughout the evening, choreographed performers, military formations, and staged confrontations combined with spectacular visual effects. Flamethrowers sent columns of fire skyward, fireworks punctuated dramatic moments, and lighting extended beyond the stage into the venue itself.
At times, there was so much happening it was difficult to know where to look.
One surreal sequence involved an elaborate birthday celebration for Draag’s Grand Immortal Dictator, complete with a cake and all the ceremony one might expect from an absurdly self-important ruler.
Then Gerard shot him.
Yes, you read that correctly.
The chaos that followed, as performers dealt with the aftermath, created a bizarre contrast with the emotionally devastating “Cancer.” The juxtaposition of absurd comedy and genuine emotion was remarkably effective.
Photo by Jesse DeFlorio Courtesy of Live Nation
During “Teenagers,” dancers dressed in Dallas Cowboys Cheerleaders-inspired costumes performed a choreographed routine before producing imitation rifles and becoming involved in a staged gunfight. Side note, the Dallas Cowboys sent MCR a cease-and-desist letter in their use of the cheerleader uniforms, and perfect rock artist reply, MCR used the uniforms the following night again.
It was ridiculous, unsettling, and wonderfully theatrical. Somehow, within MCR’s fictional world, it worked. Yet the music never became secondary.
Photo by Jesse DeFlorio Courtesy of Live Nation
Plenty of bands have enormous production budgets, but no amount of fireworks can disguise a lackluster performance. MCR used the theatrics to enhance the songs, not compensate for them.
The quieter passages were equally compelling. “Cancer,” with its emotional vulnerability, contrasted sharply with the surrounding spectacle. Orchestral elements and string arrangements added cinematic depth, occasionally bringing to mind the darker atmospheric work of Trent Reznor.
As the band moved through “Mama,” “Sleep,” “Teenagers,” “Disenchanted,” and “Famous Last Words,” the production maintained an impressive balance between musical performance and theatrical storytelling.
Following the album portion, MCR shifted gears, drawing from other chapters of their catalog with songs including “Boy Division,” “Thank You for the Venom,” “Summertime,” and “I’m Not Okay (I Promise).”
The latter produced one of those moments that stays with you long after the show ends.
The audience sang with such intensity that their voices nearly overwhelmed the PA system. Looking around the Bowl, people were singing, screaming, dancing, crying, and becoming completely immersed in the experience. The connection between the band and its audience was extraordinary.
More than once, I found myself getting pulled into the performance rather than simply observing it. As a journalist, there’s a balance between enjoying a concert and taking in everything happening around you. I had to remind myself several times to absorb the bigger picture.
“All teenagers scare the living shit out of me they could care less as long as someone’ll bleed!”
Photo by Jesse DeFlorio Courtesy of Live Nation
That’s a pretty good indication that a band is doing something incredibly well.
The October 23rd and 24th performances reportedly marked the closing chapter of MCR’s elaborate U.S. Black Parade theatrical production, with the subsequent Halloween weekend shows scheduled as a different concert experience featuring supporting acts.
For a band whose early music was rooted in the urgency of post-hardcore, MCR has never been afraid to evolve. “The Black Parade” represented a dramatic leap in ambition in 2006, and this production demonstrated how far that vision could be taken 20 years later.
What made the evening work wasn’t simply the massive stage, costumes, choreography, or technical production. It was how those elements served songs that remain every bit as compelling today.
Photo by Jesse DeFlorio Courtesy of Live Nation
I’ve seen an extraordinary number of concerts over the years, but this was genuinely one of the finest live productions I’ve ever experienced. And I’ll go out on a limb here: what Pink Floyd achieved with “The Wall” for an earlier generation of rock fans, My Chemical Romance may well have accomplished with “The Black Parade” for theirs.
This wasn’t merely a concert. It was rock theater on a grand scale. My Chemical Romance didn’t just bring “The Black Parade” back to Hollywood. They reminded everyone why it mattered in the first place.
SHOW PHOTO GALLERY
Photo by Jesse DeFlorio Courtesy of Live Nation
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