Publication Date September 12, 2026
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September 11, 2026UncategorizedLive at Garden Amp
September 11th, 2026 Review by Kevin Gomez
Mad Caddies have become a regular at the Garden Amp in the past few years, always making Garden Grove a stop on any tour they announce.
What was originally scheduled for the main outdoor stage was switched to the more intimate indoor Locker Room, and I really feel like this helped set the mood for the evening; encapsulating the crowd into a more enclosed space truly boosted the crowd’s energy.
You know it’s going to be a good night when it kicks off with off with Aggrolites’ lead singer, Jesse Wagner giving an acoustic performance. “People think ska came from Orange County… but it’s from Jamaica,” Wagner said before jumping into a cover of “Shame & Scandal” by Madness. Rocking a western shirt with red flowers (“for Dolly”), he played Willie Nelson’s “Angel Flying Too Close to the Ground.”
He did a brilliant rendition of The Clash’s “(White Man) In Hammersmith Palais” with some bite. Wagner played an Aggrolites song, “Countryman Fiddle,” before closing with his last song which even saw him go into “Monkey Man” by Toots & the Maytals.
Next up were the Goodwin Club who I saw for the first time at this very venue in January for Ska Smackdown. They were dressed as elderly women at the time, but for Thursday’s performance singer Tami Demaree was dressed in a beekeeper suit while the rest of the band were in various bee costumes. They’re a band who has as much fun at their shows as their fans do. They opened with “See All Color” and “Monster Fish.” Guitarist Charles Grey is so tall that his antenna almost touched the ceiling every time he jumped.
“Idiot Box” stirred up the first skank pit of the evening. The energy and the pit kept going for “#SorryNotSorry,” one of their most popular songs. “Little Girl” featured a guitar solo from Grey that was as sweet as it was long, and it was pretty damn long.
They played “Don’t Join the Club” and then closed with “Turkey Tit.” For the finale Chris Graue jumped to the pit where he played trumpet with his right hand, filmed with his left hand, and skanked, showing some seriously impressive multitasking.
Pico Rivera’s The Ruffolos started off strong with “Mad Ruffies Intro,” and never let up. They played the hectic “L.A. Hoedown” causing an energized skank pit to launch as I caught Mad Caddies frontman Chuck Robertson checking out the show side stage. Their lead singer Rob introduced “Clearer Mirror,” as a new song they recorded for their new album with John Avila, who has worked with Reel Big Fish and Voodoo Glow Skulls.
“Bloody Hell” was about period blood and featured a trombone solo by Luis, capped by jumping into the crowd and starting a skank pit. “Gourmet Race” was an instrumental ska that reminded me of Voodoo. “Special Yesterday” featured beautiful vocals from Bree. The band closed with “Samuel Song,” probably so named because the lyrics are “Hey, you motherfucker.”
Mad Caddies came out to Inner Circle’s “Bad Boys,” the “Cops” TV show theme song. They kicked things off with the ragtime “Villains” before slowing things down for “Lay Your Head Down,” showcasing the wide variety of the Caddies’ catalogue. Robertson introduced Zack, who was filling in on guitar for Ian Cook, lead singer for Larry and His Flask, which is currently out on tour. “Falling in Down” featured a lovely solo from the band’s horn section.
The band Skatanic Rednecks were watching at the front of the crowd as Robertson had a whistling solo for “Mary Melody.” Robertson tried to explain how open-minded and laidback his opinions are quipping, “I’m the kind of guy who will smoke weed with my black friend in my pickup truck on the way to my gay friend’s wedding.” They played the ultra popular, “Leavin’” singing, “Life goes by so damn quickly for me, wanna have some fun.” At 45, boy, do those lyrics really resonate.
Robertson took time to play “Coyote” per a young fan’s request. He then advised the crowd they were taking it back to “late ‘90s, early 2000s” as they played a slew of fast, old ska-punk. Starting with “Monkeys,” going into “Road Rash,” and then highlight of the set for me, “Drinking for 11.” The latter song Robertson said made him a kind-of celebrity in Hawaii where that song shot up to the top of the charts.
They slowed things way down for the groovy “Backyard.” As they often do, they then turned it back up and hit the ragtime, jazzy “Tired Bones.” The Caddies played the pirate shanty, “Weird Beard” before finally closing a fun-filled night of ska goodness with “All American Badass.”
Another successful night of all things ska at the Garden Amp, courtesy of Mad Caddies and friends!
SHOW PHOTO GALLERY
by Todd Markel Rock Images
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September 11, 2026UncategorizedSet to Invade Observatory Santa Ana
September 11th, 2026 by Traci Turner
English punk rockers the Buzzcocks will invade Santa Ana in November and tickets are on sale now. The band previously announced US dates, but the SoCal date is brand new.
The night before their November 14th Darker Waves appearance, Buzzcocks will play The Observatory and bring Modern English and Grade 2 as support.
Founded in 1976, Buzzcocks had their greatest success with “What Do I Get?,” “Ever Fallen in Love (With Someone You Shouldn’t’ve),” “Love You More,” and of course, “Orgasm Addict.”
Sadly, original frontman Pete Shelley passed in 2018, but Steve Diggle has taken over vocals as well as continuing guitar, and is joined by Danny Farrant on drums, and Chris Remington on bass.
The gents released the album “Attitude Adjustment” at the beginning of 2026 and are ready to share it with us on this side of the globe.
Grab tickets to see the guys Friday in Santa Ana, then get a full day of Buzzcocks, Smashing Pumpkins, Morrissey (maybe), Soft Cell, Simple Minds, Adam Ant, The Damned, and more at Darker Waves on November 14th.
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September 10, 2026UncategorizedLive at The Observatory Santa Ana
September 9th, 2026 by Steve Allen
There’s a weird kind of magic that happens when UK indie legends cross the Atlantic to play a smaller room like The Observatory in Santa Ana.
Tonight wasn’t just a standard Thursday gig – it felt more like a big room of die-hard fans gathering for a celebration of music that refuses to age.
Mercury Rev got things started, and honestly, they didn’t care about traditional verse-chorus structures or flashing lights.
It was all about the trip they took you on.
Their set felt like a cinematic, never-ending story built entirely out of experimental psychedelia. The band would float through dreamscapes before slowly, methodically building into an uproar of a dramatic finish.
Then The Dandy Warhols took over, instantly shifting the room’s temperature with their brand of moody, guitar-driven cool. It wasn’t that the band itself was in a bad mood – they clearly loved the set – but the music carried this heavy weight.
They locked into deep, hypnotic, droning rhythms and shoegaze undertones. Their many fans ate up every second of that dark swagger, matching the band’s onstage nonchalance with an energy-driven approval of their own.
The fan favorites seemed to be “Good Morning,” “Ride,” “Godless,” “Holding Me Up,” and “Bohemian Like You,” although the crowd was thrilled with the entire set.
By the time The Charlatans UK (0r simply The Charlatans) walked out, their audience was ready, already buzzing. They didn’t wait with a buildup, they immediately dropped those familiar keys with their ’92 uber-hit “Weirdo” right out of the gate, a big fan favorite that instantly set the tone. From there, they dug even deeper back into their catalog, pulling out the jangly, nostalgic hooks of “North Country Boy” early on.
Frontman Tim Burgess still has that crazy, ageless charisma. Sporting a heavy 5 o’clock shadow and a pair of sunglasses that never left his eyes, giving him a rugged look, he moved across the stage with an infectious grin, often reaching out to the fans on the barricade.
What really cut through, though, was seeing how much guitarist Mark Collins genuinely still enjoys playing. He played with a deep intensity that applied not just to their fresh tracks, but to those decades-old classics as well.
However, the real glue of the night was Tony Rogers. His work on the Hammond organ is what brought the whole sonic puzzle together. Rogers injected this swirling, 1960s garage-rock vibe that locked straight into the heavy, modern rhythm anchored by Collins and bassist Martin Blunt. The groove felt bulletproof.
One of the strongest moments of the night was a driving rendition of “Toothache” from their 1995 self-titled album. The entire floor of the venue was vibrating under the weight of Blunt’s bassline.
The Charlatans didn’t just lean on nostalgia. They seamlessly wove in cuts from their new album, “We Are Love.” Tunes like “Deeper and Deeper,” “For the Girls,” and the title track “We Are Love” showed a distinctly softer, more vulnerable side to their songwriting. It gave the setlist breathing room without dropping the band’s trademark groove.
Other tracks the crowd loved included “Can’t Get Out of Bed,” “Different Days,” “Toothache,” “You’re So Pretty – We’re So Pretty,” and “How High.”
But a Charlatans show needs a massive finish, and they gave us exactly the two tracks everyone bought tickets for. For the encore, when the opening chords of “The Only One I Know” rang out, the venue exploded into a wall of singing voices.
They finally closed down the night by stretching out into “Sproston Green,” a hypnotic, sprawling masterpiece that left the room in a literal trance.
Decades into this, The Charlatans proved they aren’t just surviving on old memories – they are still actively owning the stage.
SHOW PHOTO GALLERY
by Steve Allen | Darkroom Rebellion (IG)
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September 10, 2026UncategorizedCelebrates 100 years
September 10th, 2026 by Stuart Karpel
Since its opening in 1926, the Fonda Theatre on Hollywood Boulevard has seen a wide array of acclaimed artists, including Tom Petty, Sir Paul McCartney, The Rolling Stones, and Stevie Wonder.
The undeniably historic location of the contemporary concert hall has seen millions of concertgoers over the past century and as one of California’s earliest performance halls, it is a staple in not just entertainment history, but also architecture.
The intimate 1,200-seat concert hall is the perfect setting for any music fan to enjoy the echo of the venue’s vast history. The atmosphere is meant to breathe nostalgia anywhere you are, from the Victorian balconies to the sleek vinyl floor, and even a traditional marquee, this theatre is packed with beauty.
The venue is currently celebrating their 100-year anniversary, and the lineup announcements have just been released for October. So far, it’s set to be a crazy month of nonstop legends.
No matter what show(s) you end up going to, you can expect to hear amazing performances to start the month including Suicidal Tendencies, Father John Misty, and Remi Wolf.
The second half of the spooky season promises to be just as great with acts like Peaches, Cuco, Flying Lotus, and Animal Collective, hoping you’ll get your tickets and celebrate with them.
Multiple headliners are still to be announced, so keep an eye on their calendar.
Tickets are on sale now, get yours soon so you don’t miss out on this eclectic mix of music genres spanning an array of eras and unique sounds.
From genres like bedroom-pop, to psychedelic electric hip-hop, Chicano soul, and even new wave synth-punk, October is sure to be jam-packed with spectacular concerts.
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September 9, 2026UncategorizedCHEAP TRICK & X
Bring Nearly a Century of Rock History to
September 9th, 2026 Review Ron Lyon
There was nearly a century of rock history onstage Saturday night at Pacific Amphitheatre, as Cheap Trick and Los Angeles punk pioneers X turned an unexpected pairing into a fitting look at two very different branches of American rock and roll.
The September 5th bill wasn’t originally supposed to happen this way. X had been scheduled to appear with Joan Jett & The Blackhearts before Jett was forced to withdraw following surgery for a fractured vertebra. Cheap Trick stepped in, creating an interesting pairing with roots stretching back almost five decades.
In 1977, Cheap Trick released its first two albums and played Hollywood’s Whisky a Go Go. At roughly the same time, X was taking shape in Los Angeles. Nearly 50 years later, both bands remain remarkably recognizable versions of themselves.
For X, that still means Exene Cervenka, John Doe, Billy Zoom, and D.J. Bonebrake – all four original members. With the band’s name and 1977 looming behind them on the backdrop, the significance was hard to miss. X is approaching its 50th anniversary in 2027 with the four musicians who established its identity still sharing the stage.
There wasn’t much ceremony involved – X simply went to work.
Their 19-song set reached across the band’s history, including “Your Phone’s Off the Hook, But You’re Not,” “Sugarlight,” “The Once Over Twice,” “The New World” and “White Girl,” while “Smoke & Fiction” represented the band’s most recent chapter and 2024 album of the same name.
The closing stretch was particularly effective. “Los Angeles” led into “Nausea,” followed by “Johnny Hit and Run Paulene” and “Motel Room in My Bed,” before X finished with its long-standing cover of The Doors’ “Soul Kitchen.” It was a closing run rooted heavily in the band’s earliest years, and in Los Angeles itself.
Then came Cheap Trick.
Formed in Rockford, Illinois in 1973, Cheap Trick has already passed its own 50-year mark. Robin Zander, Rick Nielsen, and Tom Petersson remain at the center of a band whose music has always occupied its own territory somewhere between power pop, hard rock and punk attitude.
Zander took the stage in his familiar black Dream Police-style hat and an All Washed Up shirt, visually connecting two very different eras of Cheap Trick. The band opened with “Clock Strikes Ten” and worked through early favorites “ELO Kiddies,” “Lookout,” and “Big Eyes.”
Time has inevitably taken a little speed off the edges, but Cheap Trick can still rock.
During “Ain’t That a Shame,” Zander strapped on his distinctive orange Rickenbacker while Nielsen worked a slide guitar. For “California Man,” Nielsen switched to one of his unmistakable yellow guitars before surveying the amphitheater and telling the crowd, “You are a fine-looking audience.”
Cheap Trick also made room for the present. “The Riff That Won’t Quit,” from the band’s 21st studio album, All Washed Up, proved a genuine rocker, with Nielsen switching to a sunburst Les Paul and Petersson wielding his classic white 12-string bass.
Nielsen kept things loose between numbers. Spotting a FEAR T-shirt prompted talk about Lee Ving, followed by Cheap Trick’s recent run of unexpected substitute gigs — first stepping in when ZZ Top couldn’t perform in Los Angeles and now replacing Joan Jett in Costa Mesa. Nielsen joked that if another band wasn’t feeling well, they should give Cheap Trick a call. The audience responded with an awkward mixture of groans and laughter. Quintessential Rick Nielsen.
Robin Taylor Zander, Robin’s son and a familiar touring presence with the band, took over lead vocals for “High Roller.” Petersson followed with his own vocal spotlight on “I Know What I Want,” the Dream Police track he originally sang in 1979.
Then came the difference between a deep cut and a song that has become part of the culture.
The opening of “I Want You to Want Me” brought the audience to its feet. “Dream Police” and “Surrender” kept them there, providing the inevitable late-show sing-alongs.
Cheap Trick returned for an encore of “Auf Wiedersehen” and “Goodnight.” Nielsen appropriately said goodbye with one of his signature double-neck guitars strapped over his shoulder, one last unmistakably Cheap Trick image to end the night.
What began as a replacement booking ultimately produced a pairing that made historical sense. X and Cheap Trick emerged from different corners of the 1970s, but both absorbed the urgency and attitude of the period in very different ways.
Nearly five decades later, neither came to Pacific Amphitheatre simply to commemorate the past. Both played new material alongside songs that made their reputations, with the musicians who established their identities still at the center of it all.
SHOW PHOTO GALLERY
by Ron Lyon Photography
September 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: X celebrate nearly 50 years at the Pacific Amphitheatre. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon PhotoSeptember 5th 2026, Costa Mesa California, USA: Cheap Trick perform at at the Pacific Amphitheatre in support of their latest album “All Washed Up”. ©2026 Ron Lyon Photo
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September 7, 2026UncategorizedM I L E Y
Bass Persuades Coming to Hollywood Bowl
September 7th, 2026 by Traci Turner
The girl we knew as Hannah Montana, who became the woman we called Miley Cyrus, is now simply “Miley.”
In addition to dropping her last name, this week Miley delivered news of an upcoming album and two Hollywood Bowl shows. The “Flowers” singer will perform at the Bowl October 16th and 18th, and release her 10th studio album, “Bass Persuades,” on September 18th.
MILEY
Hollywood Bowl
September 16th & 18th, 2026
“Music takes hold of us. We feel it, sing it, sometimes dance to it, let it out and carry on,” she wrote on social media. “It is powerful, vulnerable, sweet and strong. Heart full, heartache, every part of life in between. That’s what the title means to me. Thank you for being a part of making my wildest dreams come true. I sincerely hope you love this album.”
Miley recently guest-edited an issue of Wonderland Magazine and described the upcoming album as “a love story, but love stories are never one- dimensional. They’re always layered.” She went on, “There is definitely a romantic thread weaving through it because, like all my records, it’s a reflection of where I am in my life.”
It has been an incredible past few years for the artist. She won Record of the Year and Best Pop Solo Performance at the 2024 Grammy Awards for her monster hit, “Flowers.”
She then nabbed the 2025 Grammy for Best Country Duo/Group Performance for “II Most Wanted” with Beyoncé.
Fans are still loving her 2025 album, “Something Beautiful,” and earlier this year, Miley and crew celebrated the 20th anniversary of “Hannah Montana” with an anniversary special.
In another social media post, Miley wrote about the Bowl: “It’s been a while. The Hollywood Bowl is my favorite place to experience music and see my favorite artists. I’ve sat in those seats many times, but I’ve never taken the stage. LA is my heart and I’m bringing it home. See you there.”
An American Express presale for the Bowl shows launches at 10 a.m. on September 8th, and Miley’s artist presale will begin at 10 a.m. on September 9th. Tickets go on sale to the public on September 10th at 10 a.m.
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September 3, 2026UncategorizedLive from The Pinnacle | Nashville
September 3rd, 2026 Review by Traci Turner
Social Distortion brought their Born to Kill World Tour to Nashville this week as they made their way across North America on their massive trek. The boys from Fullerton had some help from fellow SoCal natives, Descendants, and from the land down under, The Chats.
In February of this year, Social Distortion teased new material via a short video on their socials. The tease led to the May release of their eighth album – their first in 15 years – titled “Born to Kill.”
They dropped the title track as the first single and announced the tour, which runs through October.
The evening kicked off with The Chats politely walking onto the stage, announcing just as politely, “We’re from Queensland, Australian and it’s very nice to be here in Nashville.” The trio then burst into a loud and fast set that did not slow down until it was over.
With Eamon “Flamin” Sandwith on vocals and bass, Matthew Boggis on drums, and Josh Hardy on guitar, they began with “Billy Backwash’s Day” and “Dead on Site” before Sandwith announced, “Here’s a song about a broken ATM called ‘Paid Late.’” The track featured an incredible shredding solo from Hardy on his Flying V Gibson.
The Chats flew through their songs at breakneck speed, making the most of their time. The early crowd was into it, enjoying “Panic Attack,” “Nazi March,” “Temperature,” and “Ticket Inspector.”
Sandwith spoke up once more to introduce the next song with, “Here’s a song about a car” before “6L GTR.” They then took us through “Ross River,” “Drinking for Two,” “Struck by Lightning,” “Identity Theft,” and “Smoko,” before a quiet, “We are The Chats. Bye,” and closing out with “Pub Feed.”
The Descendants bounded out when it was their time and frontman Milo Aukerman proclaimed, “Hey Nashville! Did you like The Chats? We’re the Descendants and we’re here to tell you how much everything sucks!” which led into “Everything Sux.”
Two things I must admit: I have never seen Descendants live, and I love a good guitar face. Stephen Egerton gave THE best guitar faces, so I admit to enjoying his performance, but seriously, the whole band was incredible. How these guys – a tad older than I – could have so much energy and put on such a fantastic show…. well, they rule.
Besides Egerton’s guitar faces, seeing Aukerman healthy and performing without a hitch was wonderful, and I was equally impressed with Karl Alvarez (bass) and Bill Stevenson (drums). They also went fast, hard, and loud, blasting through “Hope” and “I Don’t Want to Grow Up.”
The crowd – which very much felt like being back in California – included many Mike Ness lookalikes. There were fans as young as 10 and as seasoned as 60+. In fact, during “I Don’t Want to Grow Up,” a 10-year-old boy at the rail was being taught how to “dance like a punk” by a bald gentleman with a long grey beard. It was a very cool scene to watch unfold – one generation teaching another the ways of the pit.
The crowd was very into “Clean Sheets,” singing loudly and pointing back to the band with the “so are you!” The pit now had crowdsurfing going on and people were ending up in the photo pit, then running right back out to hit the big pit once again.
Descendants flew through several songs that the crowd really loved, including “I Like Food,” “Nothing With You,” and a huge reaction came for “Rotting Out.” The fans and the band seemed to be trying to match each other’s energy levels and both were insane.
“Myage,” “Victim of Me,” and “When I Get Old,” led to Egerton and Aukerman joking about taking a Weinerschnitzel order, with Aukerman asking for a coronary bypass instead. Obviously, they then played “Weinerschnitzel.”
After “No, All!” and “’Merican,” a “Fuck Donald Trump!” got cheers from the crowd. “I’m Not a Punk,” “Good Good Things,” and “Coffee Mug” were a few more crowd pleasers. Aukerman then said, “I wanna be stereotyped and classified,” then left the stage to enter the photo pit and stand on the barrier for “I’m the One.”
Descendants’ blistering set concluded with “I Wanna Be a Bear,” “Thank You,” “Bikeage,” and “Smile” and the venue let out huge whistles and cheers for them as they left the stage.
At last it was time for our boys! David Bowie’s “Rebel Rebel” began playing and the crowd sang along. As the gents – Jonny “2 Bags” Wickersham (guitar), Brent Harding (bass), and David Hidalgo Jr. (drums) – walked out onto the stage, the fans began yelling and hollering. Then frontman Mike Ness strode out and the roar of the audience was insane!
Kicking off with the new album’s title track, Social D sounded outstanding and was firing on all cylinders. The packed venue was already amped up, but the energy continued to shoot up.
After “Born to Kill,” Ness said his voice was giving him trouble so we may need to sing along, which had no one complaining. Everyone jumped in on “Ring of Fire” and the cover that helped make them was sung loudly and proudly from the floor.
“Untitled” brough a toned-down vibe, but in between songs, the whistles and cheers would not stop. “Tonight” was followed by “No Way Out” which made the crowdsurfing ramp up again.
While “The Creeps” went over well, things escalated for “Mommy’s Little Monster.” In addition to the fans going insane over it, I loved Wickersham’s guitar solo and got chills when he, Ness, and Harding were at the front of the stage, singing together.
Ness asked for the house lights to be turned up so he could “have a look at this crowd.” He said his voice gave out around 7 p.m., but he “could not cancel this show.” He discussed growing up loving gangsters and guitars, Bruce Lee, “Bonnie and Clyde,” and “Easy Rider.” He said he watched the two movies at 10 or 11 years old and cried at the endings (“I was a sensitive kid.”), and how he always fought for the underdogs.
He said the next song would be dedicated to Dolly Parton, which drew a huge cheer. Parton’s death last week devastated so many, and Nashville has been especially mournful. He said, “You better name that fucking airport after her!” which is a proposal from the governor at this time. Ness said he never met Parton, but felt like he knew her, “as we all do.” His song of choice, “The Way Things Were,” which featured another fantastic Wickersham solo.
After calling “Machine Gun Blues” an “old time family song,” Ness said the next song was originally written for “the White record,” but sat on the shelf 30 years. They brought it back to life for the new record, the song being “Don’t Keep Me Hanging On.”
Ness talked about the early days, back in 1979, when art “especially punk rock, was met with violent reaction.” He went on, “People told us we couldn’t do this. We don’t listen to what they tell us.” “Partners in Crime” was followed by a song he introduced with, “You definitely know this one,” and started “Ball and Chain.” After his own sweet guitar solo, Ness asked for help singing, however he did not need it for that epic ending.
After “Through These Eyes,” Ness spoke again, thanking The Chats and Descendants, making a joke that with their peers in Descendants, “We were not supposed to live this long.” Lucky for us, both singers survived their 2023 battles.
He continued to speak, discussing the early days and how “in 1987 or 1988 I wrote this, and I was 100% certain no one would like it.” He went through his history of crime, drugs, jail, and the band itself – “Hank Williams meets the Ramones, Sex Pistols meets The Stones. In the middle is Social Distortion.” He concluded with, “I was writing about my life, or the story of my life.” The actual “Story of My Life” closed their set with a raging crowd cheering them on.
After a brief moment away, they returned for an encore with “Reach for the Sky,” which once again had the three at the front of stage singing together, sounding awesome. It also featured a beautiful piano solo from touring member, David Kalish.
Alas, it was time to go and “Bad Luck” wrapped things up, adding another epic Ness guitar solo. As they have since last week, Social Distortion walked off stage to the Dolly Parton classic, “Jolene.”
Social D will traverse North America and then hit the hometown region for two sold-out shows at the Hollywood Palladium October 1st and 2nd. The October 3rd San Diego show at Gallagher Square still has tickets available. Get your tickets and see living history!
SHOW PHOTO GALLERY
by Stephanie Pepper Photography
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September 3, 2026UncategorizedTHE WOW! SIGNAL Tour
Live from Chula Vista
September 2nd, 2026 Review by Jimmy Alvarez
As the Saturday sun began to set over the warm Pacific Ocean, droves of music fans poured into North Island Credit Union Amphitheatre in Chula Vista.
They were all there to see a music powerhouse, a band from London called Muse. Soon enough everyone would feel the power of having great openers on a bill.
Truthfully, it’s been a minute since I caught the Wasalia wonders – Portugal. The Man, and for some inexplicable reason, I had not seen Aussie / Londo alt rockers, The Temper Trap. I was eager to see the two openers, and the crowd was more than ready to get the show going. Before we knew it – it was showtime!
It didn’t take long for the capacity crowd to fill the venue, the sun wasn’t all the way down just yet so the light show wasn’t a factor.
First out to the stage were bassist Jonathan Aherne and lead guitarist Joseph Greer.
They waved to the crowd as Toby Dundas took his place behind the skins. Then, sporting a red hat, out came lead crooner, Dougy Madagi.
Despite their indie rock billing, immediately their sound was electric and packed a punch. They opened with “Love Lost,” and a quick segue into “Fader.” Honestly, I was impressed on how powerful a sound they had, and Madagi had a very booming voice. He thanked everyone for coming out early and dove into “Lucky Domes,” then “Into the Wild.”
Both Greer and Aherne put out a sonic boom with their guitars; it was really impressive, and when Madagi dove into their uber-hit “Sweet Disposition,” the crowd came to life. The voice was subtle, then he recited a scale that only masters can do and delivered an opus. The crowd responded with an enthusiastic roar.
As we were all getting settled for more, The Temper Trap left with “Giving Up Air.” It was an abbreviated set, what you expect with openers, but the crowd would have loved to have heard more. That’s when you know the night was destined to be epic – when the opener sounded like that!
By now, the moon had come out and overtaken the jealous sun as Portugal. The Man was now front and center. The crowd was ready as lead guitarist Liv Slingerland and bassist Tilley Komorny were first out. Then they were joined by Ryan Wiggans on trumpet, and drummer Vincent LiRocchi. And of course, guitarist and lead singer John Gourley took his place behind the main mic.
Gourley was stylin’ in cool threads capped off with a black Suicidal Tendencies bolero hat.
Gourley gave the crowd a wink and a smile and opened with a bang with their enormous hit, “Feel It Still.” It was as if their immersive video had somehow come to life and the crowd erupted, it was almost deafening, and it sounded magnificent.
PTM also sounded larger-than-life and they powered through their set in almost no time. Featuring other hits, “Creep in a T-Shirt,” “Purple, Yellow, Red and Blue,” “Dummy,” and “Modern Jesus.”
Backup vocalist David Marion served as an old-fashioned ska themed toaster; he was fun and all over the place, while Komorny and Slingerland showed off their guitar hero skills. Before we all knew it, PTM was closing with “Live in the Moment.” I know it’s been a minute since I last saw them live, but wow, they killed it.
Hats off to the road crew because they got the stage ready in no time. After a very brief intermission, the lights went down and we saw the silhouette of Dominic Howard behind the drums, bassist Chris Wolstenholme, and guitarist / lead singer Matt Bellamy. From the jump, they did not hold back opening with “Hysteria,” which sent the crowd into hysteria.
If you have never seen Muse before, trust me when I tell you this – their sound is soul piercing. It is hard to believe that three dudes can make so much noise! As evidenced by their next segue going into “Cryogen,” with a slide into “Supermassive Black Hole.” I literally saw concertgoers (both men and women) screaming at the top of their lungs to that one.
The show was electrifying with their light show, coupled with the music, vocals and their pounding sonic vision with “Hexagons,” and “Map of the Problematique” sent the crowd orbital. Bellamy was volcanic to say the least as the hit parade continued with “Psycho,” “Madness,” “Time is Running Out,” and “Uprising.”
Wolstenholme can slap bass, he was on fire, and their collective musical madness was highlighted when Bellamy launched us into “Undisclosed Desires” and “Starlight.”
This show really was something to behold; just when you think Muse can’t get any better, they prove you wrong. This night, they appropriately closed with their aptly named closing song, “Take a Bow.”
Muse is intense, hypnotic and simply put – they are utterly unforgettable.
Catch them on their Wow! Signal tour while you can; it really is out of this world.
SHOW PHOTO GALLERY
by Green-Eyed Blonde Photography
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September 1, 2026UncategorizedCRETIN FAMILY
Celebrate RAMONES 50
Live from Hollywood Forever
September 1st, 2026 Review by Bruce R. Kilgour
On a beautiful Sunday evening in Hollywood, the founders of punk rock were honored with a grand 50th anniversary celebration of their historic first album. Released in April of 1976, “RAMONES” remains one of the most important and influential debut albums of all time.
Since 2005 – one year after the passing of Ramones guitarist Johnny Ramone – Hollywood Forever Cemetery has been the site of an annual charity event hosted by his widow, Linda Ramone.
That same year, the eight-foot-tall bronze statue of Johnny was unveiled, and the memorial has been visited by hundreds of thousands of fans from around the world.
After a decades-long legal battle between Ms. Ramone and the late Joey Ramone’s brother Mickey Leigh, Ms. Ramone acquired 100% of Ramones Productions Inc. earlier this year, paving the way for what will hopefully be an annual tribute to the entire band and not solely to her late husband.
Sunday’s program, hosted by acting legend John Travolta, was truly a star-studded affair both on stage and off. Among celebrities I spotted in the crowd were John Frusciante (Red Hot Chili Peppers), Priscilla Presley, Tony Kanal (No Doubt), Slim Jim Phantom (Stray Cats), John 5, and Billy Zoom (X).
Travolta was also on-hand to present a double-feature screening of his directorial debut “Propeller One-Way Night Coach,” followed by the 1976 film “Carrie” (his first significant film role). Legendary contemporary artist Shepard Fairey (of OBEY fame) served as the special guest DJ for the early part of the evening.
The band – dubbed Cretin Family – assembled for the musical portion of the night was certainly a supergroup. Billie Joe Armstrong of Green Day handled lead vocals and guitar, Travis Barker of blink-182 was on drums.
CJ Ramone – who replaced Dee Dee Ramone in Ramones for the band’s final seven years – played bass and provided additional vocals, and Tim Armstrong of Rancid served as musical director in addition to playing guitar and sharing lead vocals.
The promise of “special guests” on events such as this can bring mixed results these days, but appearances by Fred Armisen, Jason Freese, The Linda Lindas, and Billy Idol certainly added to the festivities. Idol and Armisen have notably appeared at previous years’ tributes.
Cretin Family kicked off their 50-minute set with the instrumental “Durango 95,” just as the actual Ramones did for most of their post-1985 career. “Rockaway Beach” and “Cretin Hop” followed with both Armstrongs and Ramone trading vocals.
“Do Ya Wanna Dance?” got the crowd singing along, and Billie Joe stated that “the Ramones wanna see all the kids dancing,” so they played it again. “Gimme Gimme Shock Treatment” was followed by two songs sung by Ramone – “The Crusher” and the Motörhead song “R.A.M.O.N.E.S.” The first special guest vocal was next with Armisen handling “Danny Says.” One of the Ramones’ biggest songs – “Sheena Is a Punk Rocker” – was next, followed by “Do You Remember Rock ‘n’ Roll Radio?” featuring Freese on saxophone.
Los Angeles punk band The Linda Lindas took the stage next to perform a raucous “California Sun” and then appeared to ask Cretin Family if they could also sing the next song, the immensely popular “I Wanna Be Sedated,” which whipped the crowd into a huge pogo party. Next was the classic one-two punch of “Havana Affair / Commando” sung ferociously by Tim Armstrong.
Billie Joe took over lead vocals for “Oh Oh I Love Her So” followed by a faithful version of the garage rock classic “Surfin’ Bird,” then announced that “coming up next is my idol… Billy Idol!” The excitement level in the crowd went up quite a bit as they launched into “Beat on the Brat,” followed by the only non-Ramones song of the night, “Ready Steady Go,” by Idol’s pre-solo career band, Generation X.
Idol commented that this was “like the Roundhouse in 1976, that’s what this feels like!” (The London debut of Ramones was at that legendary club on July 4, 1976, with many future punk band musicians in attendance.)
Idol stayed on to sing the iconic “Blitzkrieg Bop”, with The Linda Lindas adding to the “hey ho, let’s go” chorus. After 20 songs in just under 50 minutes, the concert wrapped up with smiles and hugs all around.
Many attendees stuck around for the showing of Travolta’s new film, followed by a visit to Johnny Ramone’s statue, which had been specially decorated for the evening.
The 50th anniversary show was a major triumph for Linda Ramone, and all the talent and crew should be commended for putting on an incredible tribute to possibly the greatest punk band of all time.
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by John Gilhooley Photography
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August 30, 2026UncategorizedINDUSTRY REPORT # 71
Catching up with Public Image Ltd
A Conversation with Lu Edmonds
August 30th, 2026 by Traci Turner
The unmistakable, unapologetic, and defiant frontman of the Sex Pistols, John Lydon became a punk pioneer and music history legend. Post-Sex Pistols Lydon has continued to be a legendary pioneer – and still defiant – with Public Image Ltd (PiL), giving us solid tracks such as “Rise,” “Seattle,” “Disappointed,” “Don’t Ask Me,” “(This is Not a) Love Song,” and “Public Image.”
PiL released a new live album this year, appropriately titled “Alive,” which was recorded during last year’s tour. The band has also been in the studio recording an album of new material for release in early 2027.
With Lu Edmonds (guitar), Scott Firth (bass), and Mark Roberts (drums) by his side, the crew will undertake an extensive North American tour dubbed This Is Not… The Final PiL Tour. The trek begins September 3rd and closes out October 9th, but the gents have already mapped out another block of dates that kick off in February 2027.
We figured someone needed to clue us in on all things PiL and the man of many musical talents, Lu Edmonds was game to help us out.
Photo by Paul Heartfield
Traci: Hey Lu! Happy belated birthday! Did you do anything fun?
Lu: Well, it was fun! We were in Porto in Portugal and we’re finishing off the new album of Public Image Ltd. It is a lovely studio – it’s called Arda – and we just worked all day.
Traci: Oh, that’s awesome for us!
Lu: Cake in the evening, drinks, something nice to eat. All good.
Traci: Did you always want to be a musician, even from a young age?
Lu: I don’t think I ever wanted to. I didn’t know I did. It’s just what happened. I always wanted to play. I don’t know why. I don’t think I ever made a choice. I don’t know how it happened, but that’s all that I’ve ever done.
Traci: You play instruments that I’ve never heard of! I saw that they’re all kind of stringed, lute, guitar-ish shaped, so that made me wonder, is a guitar boring to you now?
Lu: No, no, nothing boring. No, you know, you have to look at guitars and think that the Fender Telecaster, which is a great instrument, is just the latest great-great-great-great-great-great-great-grandchild of some other instruments that have come to us over millennia, really.
Traci: Do you remember the first song that you fell in love with?
Lu: Oh my goodness. Yeah. I grew up with The Beatles, but before that, we had all these Fats Domino records, like “My Blue Heaven,” you know, and all the Ray Charles, What’d I Say.” We had Fats Waller – all these great old jazz records. It was like jazz and I guess the more kind of commercial end of the blues, you know. Fats Domino, for me, I loved the sax and, you know, what’s not to like?
Traci: I love reading about your history, your variety of musical styles, your variety of bands. You can do so many things and you’re involved in so much, do you ever slow down? I mean, do you ever sit, still besides for interviews? (laughing)
Lu: Well, I don’t know. (laughing) Yeah, I mean, you know, the world is so interesting, it’s so fascinating, and music is the key. It’s like a little key that you can use to go and find, find so much about other shockingly different people and the way they live and the way they hear harmony and rhythm. It’s not that I deliberately go out and look for anything; it’s just that if you open your ears and open your eyes, it’s all around, especially these days in London.
Lu went on: I remember being in a taxi in 1982 and this Pakistani guy was driving and he had a cassette, but he didn’t have it going. I said, “Put the cassette,” and he went, “Are you sure?” I went, “Yeah.” He put it on. It was Nusrat Fateh Ali Khan, the great qawwali singer. It just blew my head off because it’s punk, Sufi poetry. I’m not looking for it, or I’m just in the back of a cab, and you hear that stuff and that gets into you and you feel connected with the world. I think it’s a positive thing.
Traci: When you come to the US and North America, is there something in particular that you like to go see or like to do?
Lu: Well, to be honest, we really don’t get much time. I mean, just have a look at our tour and you know, play the gig and then we get something to eat. Then we get in the bus and we travel. We like to conserve our energy.
Traci: Do you guys all travel on one bus?
Lu: Yeah, yeah, just on one bus all together with John, everyone. He likes it. John is like me; he likes all kinds of music. And he’s got incredible taste in music. We’ve actually been talking a lot to him recently about the gigs that he went to see as a young child when he was 9 or 10 or even earlier. And then after he had the meningitis, his parents were like, “Look, John, anything that makes you reintegrate with society” – because he lost his memory – “is fine by us.”
Lu continued: So he had this incredible life prior to the Sex Pistols. The stories he tells us, they’re 10 times more interesting than anything that you see in “The Great Rock and Roll Swindle.” That’s all just pretty much manufactured. We’re trying to get him to write that up, about his stuff and all that. But he just loves traveling. He’s like staring out the windows. You go across the Rockies and the Salt Lake City. We’re all together, we got quite a small crew, just the four people in the band, and then we have really good crew who’ve been with us now, some of them over 16 years.
L to R: Lu Edmonds (guitar), Scott Firth (bass), Mark Roberts (drums), & John Lydon (vocals)
Photo by Paul Heartfield
Traci: What can we expect with the show? I know you have “Alive,” the live album that is available now, and you’re recording that new one.
Lu: We’ve recorded it. It’s all really fun. Yeah.
Traci: Are you going to share some of those on this tour?
Lu: Well, probably not the songs. We might, as they say, deploy some of the bits of the things that were used to help record it. We got this funny Russian drum machine. It’s just totally bonkers, and it’s not digital in any shape or form, but it makes noises we don’t understand. We might use that a bit on a couple of tracks. And, you know, we improvise quite a lot…
Traci: When the song is done and you’ve released it, are you still wanting to tweak it, “I wish we had done this or that?”
Lu: That’s the problem, it’s never done! Whatever you hear on a record is a freeze frame of the point at which the manager came and said, “Right guys, that’s it, you’ve had enough time, stop it.” I have to say, John is absolute master, or he’s a genius improvisation of pulling things out of thin air, you know. He just hears things. It’s so interesting working with him because he’s so quick as well.
Lu paused and went on: On the new record, we went to the studio and he got ill very quickly, had like a cough, so he didn’t come in for a couple of days, by which time we’d laid down 12 tracks already, just stuff we made up. He came in and he had a mic in front of him, at the back of the studio with, you know, you’re hearing all on the speakers, and then he had a button that he could press if he wanted to record himself as we were listening back, and we secretly pressed it and he immediately started singing these things. And that’s mainly first take, first time he ever heard anything. Half the album is just his first reaction, having never heard anything that we did, and it’s fantastic! He’d make up the words on the spot.
Traci: Is it a spring 2027 release? Or no date yet?
Lu: I think that’s the idea. I think that’s what we’re aiming at, but we’re so busy. John is so busy; I think John’s probably done 160, 170 shows in the last year. We’ve done like 85, 90. The band is pretty well-oiled, if you like, but well-oiled in a way that we’re not afraid to peel off and start doing different things. It’s not the same every night. I mean, there’s some things we play, you know, because people want to hear certain songs.
Lu went on: But then increasingly we’re beginning to sort of branch out and do new things. We’re trying to integrate some of this new gear and then hopefully by next year when we come back to the States, we’ll have quite a few songs. We just played the songs that we think fit nicely, like a narrative or something, a telling story. We play stuff from new albums and the old albums. So we’ll see, there’ll be a lot of the oldies and goldies and newies. You have to keep yourself, otherwise if you fall to bits. I’m nearly 70, so I can’t deal with that.
Traci: You have this busy fall tour, then in 2027, Australia and Japan…
Lu: Then we come back to the States and there’s going to be a whole bunch more dates coming up all the way through ‘27. We do a lot of festivals and then there’s a lot of other things afoot going all the way into 2028. There’s a lot of stuff planned!
We are going to have plenty of PiL for the near future and that is absolutely fine by me. Thank you to Lu for the incredible chat!
The tour kicks off September 3rd in Pioneertown at Pappy & Harriet’s, hits Santa Ana and The Observatory on September 8th, jets up to LA on September 10th for a show at The Belasco, drops back down to San Diego on September 11th for a House of Blues show, then travels North America until the closer October 9th in Nashville. Another leg will launch in February 2027. Special guests Plague Vendor are slated on all dates and tickets are running low at many venues, so you better act fast – you don’t want to miss these legends live!
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August 27, 2026UncategorizedLive at Hollywood Palladium
August 27th, 2026 Review by Todd Marrkel
I may be the only one who geeks out on stuff like this, but whenever I go to an old venue in Hollywood, I often find myself thinking about the history of the place. Tonight was no exception as I walked into the Hollywood Palladium.
The venue opened on Halloween in 1940 with none other than crooner Frank Sinatra. It was featured in “The Blues Brothers” movie and is probably best known in punk circles as the site of the infamous Black Flag/police riot in 1984. Being aware of all of that as I walked through the doors makes it feel a little more special.
First up was Sullvn, a band made up of some pretty seasoned musicians. James East joined singer Robert “Sully” Sullivan on bass, Brian Jordan on guitar, Mark Hattersley on keys, No Doubt’s Stephen Bradley on trumpet, along with Dan Regan from Reel Big Fish. They opened with “Chasing the Echoes” and worked through a set that mixed their own material with some familiar favorites.
Their cover of “Tears of a Clown” was a nice surprise, but “Oh California” was possibly the most meaningful song of their set as Sullivan dedicated it to the firefighters who battled the Palisades Fire.
They regularly include The Mighty Mighty Bosstones’ hit “The Impression That I Get” in their set, so hearing it wasn’t a surprise. The surprise was when Dicky Barrett appeared onstage to help sing it.
Moments later, Aaron Barrett of Reel Big Fish joined them onstage as well. Having both Barretts up made it clear this just might be a special night. Dicky stayed around to introduce a song that he recently recorded with Sullvn, “Raise a Glass,” before they wrapped up their set.
Next up was Simi Valley’s Pulley, featuring Scott Radinsky on vocals. They wasted no time getting things going with “A Bad Reputation,” which immediately saw some slam action going on in the pit.
Pulley has always been one of those bands that fits right in here in the Southern California punk scene, and they sounded great. They dedicated “One Shot” to the legendary Cathay de Grande, the now-defunct punk venue that had been located just down the street from the Palladium back in the day.
It was another reminder of just how much punk history is packed into this part of Hollywood. They closed their set with “Working Class Whore,” leaving the crowd ready for what was coming next.
Although they hail from Detroit, The Suicide Machines have always had a very loyal and enthusiastic fanbase here in Southern California.
As promised, they played their entire 1996 debut album, “Destruction by Definition,” from beginning to end. This was the album that established the band and has meant so much to fans over the years.
The crowd knew every word to every song, and the pit was going in a massive circle on the old wooden dance floor. At one point, Charlie Paulson of Goldfinger ran onto the stage and gave singer Jason Navarro a congratulatory hug before running off again. The Suicide Machines delivered exactly what the fans came to hear, from “New Girl” to “I Don’t Wanna Hear It.”
Then it was time for the kings of punk rock irreverence, The Vandals. Anyone who follows the band knows that Josh Freese is their regular drummer, but when Freese is busy, the band has some very capable drummers ready to fill in. Little did I know that when one of my favorite bands, NOFX, broke up, one of the benefits would be getting to see their former drummer, Erik “Smelly” Sandin, playing drums with The Vandals.
They opened with the classic “NIMBY,” or “Not in My Backyard,” followed by a fan favorite, “People That Are Going to Hell.” Before playing their mega hit “Oi to the World,” singer Dave Quackenbush asked if anybody wanted to hear a Christmas song. Given that it was a hot summer night in August, the answer was an obvious yes. The band has always had a sense of humor about what they do, and that was on full display throughout their set.
Quackenbush then suggested they mess up a NOFX song before launching into “The Moron Brothers.” He even turned to Smelly and asked, “Isn’t this about you?” which got a pretty big chuckle from the crowd.
The Vandals finished as usual with their irrepressible guitarist Warren Fitzgerald out front, singing his heart out, while Quackenbush took his turn on guitar for “My Girlfriend’s Dead” and “I Have a Date.” It was a great way to close out their set.
Then the mighty Goldfinger took the stage and immediately blasted into the bangers “Spokesman,” “Get Up,” and “Counting the Days” without giving anyone much of a chance to catch their breath.
The band was filled out by Mike Herrera from MxPx on bass and Philip Sneed, formerly of Story of the Year, on second guitar.
The all-star guest appearances continued as Hefe from NOFX came out to play guitar on “Open Your Eyes.” And since Hefe was already there, Goldfinger decided to pay a little tribute to NOFX by playing their signature song “Linoleum.”
At this point, it almost seemed like there was a running contest to see how many special guests could be brought onto the stage in one night.
The horn section backing Goldfinger tonight was none other than Reel Big Fish’s Dan Regan and Scott Klopfenstein, so it wasn’t much of a stretch to bring Aaron Barrett back onstage to perform Reel Big Fish’s “Sell Out.” Goldfinger and RBF have a long-shared history of joint tours and split seven-inch releases.
Then came “Superman,” which is, of course, my personal theme song. Hearing it live was every bit as good as I had hoped, and with everyone still on stage, it turned into one of those big, chaotic moments that you want to remember.
But Goldfinger wasn’t done yet. Feldman announced that tonight was especially significant because it would be the first time in 29 years that the original version of Goldfinger would perform together onstage. Original bass player Simon Williams and original drummer “Dangerous” Darrin Pfeiffer came out to join the band for a few classic songs from Goldfinger’s debut album, including “Anxiety,” “Answers,” and “Mable.”
All night, hanging above the stage, was a large net filled with red balloons. I think most of us had a pretty good idea what was coming next. To close out their biggest headlining show, they finished with their beloved cover of “99 Red Balloons.” As all the balloons fell to the floor and confetti cannons shot red confetti into the air, the night came to a brilliant but fitting conclusion.
Looking back at the whole show, it really did have everything you could have asked for. Great bands, a packed venue, a good pit, songs that brought back a lot of memories, and more special guests than anyone could have hoped for. Having members of NOFX, Reel Big Fish, and the original Goldfinger lineup all show up throughout the night made it feel like more than just another punk show.
Maybe that’s why the Hollywood Palladium felt like the perfect place for it. You could look around and realize that you were standing in a building that has been hosting important music events for more than 80 years while watching another night that people will probably be talking about for a long time.
For a fan of Southern California punk and ska, it was pretty hard to ask for a better show.
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by Todd Markel Rock Images
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August 26, 2026UncategorizedLive from Brookside at the Rose Bowl
August 26th, 2026 Review by Kevin Gomez
In May of last year, fans gathered for Just Like Heaven on one of the hottest days of the year. This year it was pushed to August, and fans once again braved the heat – a scorching 94 degrees – for the annual indie fest at Brookside at the Rose Bowl in Pasadena.
The parking gods were not on my side, and I unfortunately missed the opening half of Matt & Kim’s set. I could hear the energetic duo opening with “Block After Block.”
They did a fiery rendition of “Now” that had the whole crowd bouncing along frenetically. Lead singer Matt Johnson introduced “Silver Tiles” as the first song they ever wrote and even included a snippet of M.I.A.’s “Paper Planes.”
They played “Daylight,” which saw drummer Kim Schifino jump on top of her drum set, and they closed their very fun set with the radio-friendly, “Let’s Go.”
Next on the Orion Stage was the highly-anticipated set from STRFKR. The electronic indie pop band opened with “While I’m Alive,” which had glimpses of Kavinsky’s “Nightcall.” “Rawnald Gregory Erickson the Second” featured spaced-out hypnotic music as two masked figures in gold danced behind lead singer Joshua Hodges.
I saw Schifino enjoying their set side stage. While the band played “Boy Toy” and three astronauts danced on stage, a fourth came from the back of the crowd and crowd surfed to the stage. STRFKR also did a trippy cover of Cyndi Lauper’s “Girls Just Wanna Have Fun.”
Vancouver’s Ekkstacy opened with “if I had a gun” followed up with the rocking “i just want to hide my face.” He played the breezy “Walk This Earth All by Myself,” and there was a gnarly bass intro on the last song of his set, “I’m So Happy.”
Dayglow had a laid back, enjoyable set. Often described as indie pop, I got beach vibes from his performance. They started out their set with lead singer-guitarist Sloan Struble singing about “False Directions” and how they were “leading me away from you.”
“Hot Rod” was giving me pop punk tendencies, feeling like something Jim Adkins would write. They did “Everything Little Thing I Say I Do” and “Crying on the Dancefloor,” then finished up with “Listerine” and “Close to You.”
TV Girl took over the Orion Stage and were joined by Jordana Nye on guitar for their entire set. Lead singer Brad Petering said, “We did an album together ,” so they decided to make it a one big family affair. On songs like “Pantyhose” and “Louise,” Petering almost had a laid-back freestyle rap flow.
“Hate Yourself” featured quiet male vocals from Petering backed by powerful female vocals from Jordana and bassist, Zoe Zeeman that reminded me of The Rentals.
Jordana played two of her solo songs from the EP, “Sweet to Dream” and “Better in the Dark.” They brought out George Clanton to do their big duet, “Summer 2000 Baby,” before closing with “Lovers Rock.”
A huge turnout gathered for the night’s co-headliners, LCD Soundsystem. They immediately jumped into “Tonite” highlighted by Nancy Whang futuristic keyboards.
“Tribulations” dripped with synthesizers and sweet ass solo from guitarist Al Doyle. Lead singer, the charismatic James Murphy, joked that they wouldn’t talk much between songs, “because we write really long, dumb songs.”
And, boy he wasn’t kidding. I swear “Losing My Edge” seemed to go on for 10 minutes in a jam session meltdown culminating in Murphy repeating “I was losing my edge” endlessly. Somewhere during that madness Whang even snuck in a snippet of Yaz’s “Don’t Go.”
Personal highlight of their set for me was “Dance Yrself Clean,” launching the entire crowd into a dance party when the beat dropped. Not only a special moment for nostalgic purposes but I really feel like the crowd came alive after roasting in the sun all day and reminding everyone what a great dance act LCD Soundsystem is. They closed their set with a heartfelt rendition of “All My Friends.”
Off to the Stardust Stage to catch synth-funk duo, Chromeo. As they always do, they opened with “Intro (Chro-me-o…o…o).”
Lead singer Dave 1 was dapperly dressed in a silver sequined sports jacket, while keyboard and multi-instrumentalist P-Thugg sported a black, leather vest.
The duo nailed a sexy version of “Bonafied Lovin.’” They played the smooth “Must’ve Been / Momma’s Boy” back-to-back.
Chromeo probably had one of the most high-energy sets of the whole day, second only to Matt & Kim. The crowd cheered as the band led into the über-cool “Jealous (I Ain’t With It),” ending with “Needy Girl.”
Just before The Strokes came out fashionably late, the crowd began singing “Happy Birthday” to celebrate lead singer Julian Casablancas’ 48th birthday. A huge ovation began as The Strokes led off with “Lonely in the Future,” with fans singing along with every word. From a new single to an old classic, they followed up with “Hard to Explain.” They played a gritty rendition of “Juicebox,” led off by Steve Schiltz on guitar, filling in temporarily for Nick Valensi.
Uncharacteristically Casablancas talked a lot in between songs. At one point he referenced the Rose Bowl as “soon to be abandoned,” referring to the UCLA Bruins, currently attempting to switch their home games to SoFi Stadium.
At one point he called James Murphy of LCD “the Brett Favre of indie rock,” jokingly referring to how the band has previously come out of retirement. To their credit Casablancas said Just Like Heaven was, “kind of like a better Coachella, to be honest.”
There’s been a lot of talk, some criticism even, on The Strokes’ latest album, “Reality Waits,” and its heavy use of AutoTune. But this is nothing new for them, and they seemed to embrace this new era playing “One Way Trigger,” one of their earliest forays into AutoTune from 2013’s “Comedown Machine.” From their latest effort, “Dine N’Dash” kept the same vibe going, allowing Casablancas to hit new falsetto highs.
After closing their set with “Automatic Stop” and “The Adults Are Talking,” the band returned and Casablancas stated due to “technical difficulties” their encore was being cut from four songs to two.
They reserved one of those to play a new song, “Going to Babble On” for the first time live. The indie rock icons closed Just Like Heaven with the heavenly viral, “Selfless.”
Once again Just Like Heaven proves to be the gold standard for showcasing classic indie of the 2000s, and modern day indie music.
FESTIVAL PHOTO GALLERY
by Highway One Photography
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