Publication Date August 28, 2026
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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.
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by Highway One Photography
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August 25, 2026UncategorizedDirty Heads & 311
Bring the Boom to Long Beach
August 21st, 2026 Review by Jimmy Alvarez
It was a warm Tuesday night in Long Beach; the night was billed as a sort of homecoming, but it was much more than that.
The show was dubbed the summer’s best homecoming show featuring local sonic heroes, Dirty Heads. Truthfully, as soon as doors opened, you could tell the night would be electric.
August 18th, 2026
It was evident that the capacity crowd covered all demographic groups. In short, there were a boatload of true music fans that turned up for this one.
The buzz was in the air – given the lineup, each set would prove to be epic.
(aka ROME)
Opening the night was fan favorite, Rome Ramirez (aka ROME). It wasn’t lost on the crowd that Romie helped keep the Sublime legacy alive for years fronting Sublime with ROME. You could tell the early crowd loved him for that.
As expected, ROME stormed the stage with a high-energy set that delivered on the mastery of his guitar hero skills. With his infectious smile and cherub-like vocals, Romie wove in and out of a few original solo songs and a few Sublime / Sublime with ROME tunes.
The crowd loved, loved, loved his delivery of “Take It Or Leave It” and “Garden Grove.”
But, it was his take on “Badfish” that got the largest reaction of the night. Ramirez gave tribute to Bradley for what he meant to Sublime fans, including himself. He also gave tribute to Eric, Bud and Bradley’s son, Jakob. That tribute nearly caused a sonic boom it was that well received. Needless to say, he left the stage to a standing O!
After an extended intermission, out came Minnesota hip-hop marvels, Atmosphere.
Lead singer Slug was wearing his # 5 Minnesota b-ball jersey that gave tribute to the Mayo Clinic, which is right on cue for how cool this dude is. Everyone with a heartbeat could see, Slug was amped. DJ Ant was as entertaining as ever and that’s saying something!
What makes their music stand out in addition to the kick-ass production Ant pumps out are the lyrics and rhymes that tap into the souls of their fans. Slug is a legit entertainer, and he has demonstrated over the years he can command an audience and do stand-up all in one.
Slug had the crowd rolling in between songs. Songs like “God Loves Ugly,” “Puppets, “Scapegoat,” “Okay,” and “Trying to Find Balance” reminded all in attendance why Atmosphere remains one of the premiere artists – they bring energy, reflection and soul piercing production to every show they play.
With the sun dipping into the Pacific and the lights from the Queen Mary providing an incredible backdrop, it was time for 311! Shortly thereafter, the lights dimmed and out came out the cats from 311!
Nick Hexum was front and center, with SA Martinez right behind him on keys the band led off with their catalog of hit-after-hit with “Beautiful Disaster.”
That guitar riff sounded incredible, and Hexum’s vocals has the crowd screaming at the top of their lungs.
With SA Martinez adding the dance track and vocals, P-Nut and Tim Mahone were booming with their setlist, “All Mixed Up,” “Come Original,” “Sunset in July” gave that crazy light show some competition, because you could feel the vibration from the bass!
Notable moments included their Cure cover of “Lovesong,” and a drum solo by Chad Sexton. The band came out with a kick-ass drumline set that would make any college drum corp jealous beyond belief.
311 delivered the tunes their fans were screaming for, “Creatures (For a While),” “Amber,” “Feel So Good,” and “Down” brought the house down. 311 definitely gave the crowd what they wanted.
By now, the crowd was ready for the closer. Since it was a hometown show, it was time for HB’s Dirty Heads! The crowd lost its mind when Jared Watson (aka Dirty J) and Dustin Bushnell (aka Duddy B) took the stage.
The duo traded vocal duties as they do and it is mesmerizing. This band makes every show feel like a family and backyard BBQ, very reminiscent of Grateful Dead or Phish gigs.
Just like 311, Dirty Heads also has a hit catalog they were about to unleash. “Seven Seas,” (personal favorite!) – “Burn Slow,” “Bum Bum,” and “Heavy Water” had the crowd on their feet and doing an old fashion sing-along.
With an energetic crowd, the hot night was only overcome by the heat from the stage. “Oxygen,” “Rescue Me,” “My Sweet Summer,” “Life’s Been Good,” and “One of Those Days” had the crowd in a craze.
Then, they went into “Lay Me Down,” which had ROME come out for it and the crowd ate it up.
Then they segued into new song, “Better,” then back to some old school hits, “Vacation,” “Island Glow,” “Medusa,” and then they called it a night with “My Sweet Summer.”
A perfect ending for a perfect night of music in this newly crowned jewel of a venue.
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by Green-Eyed Blonde Photography
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August 24, 2026UncategorizedSantana + The Doobie Brothers
Live at Hollywood Bowl
August 24th, 2026 Review by Amaris Becker
When I first saw the announcement of Santana and the Doobie Brothers at the Hollywood Bowl, I knew this was a tour I could not miss. Two bands representing vastly different sounds of the ‘70s: the Doobie Brothers embodying the American country-rock spirit, and Santana blending blues, rock, and jazz with a Latin flair, redefining what a lead guitarist could be.
The Doobie Brothers were, by the strictest definitions, the openers, only because they went on first. But the Oneness Tour summarizes something deeper. This wasn’t your classic tour format of an opener warming up the crowd followed by a headliner. Instead, it was one event in two acts: the Doobie Brothers and Santana.
As I walked through the Hollywood Bowl gates that August evening, I was struck by the crowd. These bands represent different genres, and the audience reflected it beautifully. People wore everything from cowboy hats to vintage t-shirts to ironed button-downs.
The weather was perfect for an outdoor show, and the sun was just beginning its descent into dusk. My parents grew up on the music of these incredible artists and decided to attend as well. My mother had a lovely picnic packed, and The Doobie Brothers took the stage. They came out swinging with immediate energy and chemistry that felt both lived and earned.
No introduction was needed as they opened with “Rockin’ Down the Highway,” followed by “Take Me in Your Arms (Rock Me a Little While),” then “Little Darling (I Need You),” flowing into “I Keep Forgettin’ (Every Time You’re Near),” and Walk This Road.”
Two of the founding members performed: Tom Johnston, who played guitars and sang vocals with ease, and Patrick Simmons, who came out with a bright pink Fender guitar that set a nice contrast with the rest of his outfit, a wide gambler’s hat and long hair. If I knew nothing of The Doobie Brothers and had to pick a member out of a lineup based on vibes alone, he’s who I’d choose.
“It Keeps You Runnin’” was one of my personal favorites of the night. Michael McDonald, who wrote the song, and his husky voice cut through the evening air and seemed to touch my soul. There’s also something about a great saxophone solo that takes a moment from great to unforgettable and Marc Russo, one of the musicians joining them on tour, delivered that magic
From there they went into “Minute by Minute,” “Without You,” “Jesus Is Just Alright,” “What a Fool Believes,” and “Long Train Runnin.’” John McFee was center stage with his guitar and fiddle. He may not technically qualify as a founding member, but he may as well be, as he’s been with the band for about 40 years collectively.
Joining them as the touring lineup were John Cowan on bass, Marc Russo on saxophones, Ed Toth anchoring with the drums, and Marc Quiñones on percussion and backup vocals. This collection of talent, many with notable careers themselves, created a cohesive unit that felt more like a family than hired musicians.
“China Grove” was next, but when they played “Black Water,” the crowd belted back every lyric. I was out of my seat – this is how I found the band.
One of their concert classics, “Amazing Grace,” played next, then “Takin’ It to the Streets.” They ended with “Listen to the Music,” which made everyone jump out of their seats and we truly listened to the music.
When Santana took the stage, the energy shifted entirely. They got the band order right. The Doobie Brothers are a daytime band, all sunshine and singalongs. The night belongs to Santana.
The members of Santana began taking the stage and the atmosphere transformed. Where the Doobie Brothers traded in storytelling, country-rock grooves, and harmonies, Santana brought movement and groove, so that when you listen to them you can’t help but dance.
Carlos Santana strode out and took his seat, but do not let the chair fool you. He was the center of everything that followed. Santana is not about the lyrics, it is about Santana himself, the way his guitar seems to speak a language only he could translate.
The band opened with “Soul Sacrifice,” and from the first note the crowd was on its feet. The entire front section stood and practically never sat back down.
Andy Vargas handled lead vocals, and he was electric onstage. Beside him, Ray Greene doubled on vocals and trombone with real stage presence, while the rhythm section did the heavy lifting that makes Santana, well, Santana.
Karl Perazzo and Paoli Mejías traded percussion, David K. Mathews colored everything from the keys, and Tommy Anthony added guitar and vocals. Behind an enormous drum kit sat Cindy Blackman Santana, Carlos’ wife, attacking each hit like the whole show depended on it.
They rolled through the classics, “Black Magic Woman,” “Oye Como Va,” “Maria Maria,” each one making it harder and harder to stay still. Even a cover of “She’s Not There,” by The Zombies, was unexpected but somehow blended perfectly in the set.
The visuals matched the sound, trippy and dreamlike. African dancers swayed across the screens, and the trees of the Hollywood Bowl became the backdrop for a laser show that swept over the crowd like water. They projected videos of themselves playing as younger men, connecting across generations as different eras of the same band shared one stage.
This concert was amazing in many ways. I got to watch the show not just through my own eyes, but through my parents. Being with my mother as she sat in awe at the Hollywood Bowl and my father, who could not stay in his seat once Santana started playing, I understood why they also did not want to miss this show.
Some music does not age, it just waits for the next generation to catch up.
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by Randall Michelson / LN-HS
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August 23, 2026UncategorizedINAUGURAL
Summer Ska Classic
at The Garden Amp
August 23rd, 2026 Review by Todd Markel
The prospect of a small festival at one of my favorite venues, celebrating ska music, was more than I could have hoped for. While ska may have had its mainstream heyday in the ‘90s, for many of us – myself included – it never really went away.
That was pretty clear at the inaugural Summer Ska Classic Alive & Skankin’ 2026 at The Garden Amp, which featured 10 bands spread across two stages.
If you’ve never been to The Garden Amp, there’s the larger outdoor amphitheater, and then there’s the smaller, more intimate Locker Room in the back. The Locker Room is standing room only and gives shows a completely different feel. I’ve been to a few events here that used both spaces with staggered set times, and my usual routine is to bounce back and forth between the main stage and the Locker Room, trying to catch as much as possible.
The day started early, with the sun still high in the sky as the doors opened. Before the music got going, attendees were treated to a live, in-person version of the ska podcast “On the Upbeat.”
The discussion covered our shared love of ska music, along with some of the bands and people who helped shape the scene. Karen Roberts from Chase Long Beach joined the conversation as a special guest.
Rebels in the Yard got the music started in the Locker Room with a laid-back reggae sound. They even played my favorite Bob Marley song, “Three Little Birds,” which was a great way to begin the day.
Over on the main stage, The Guilty Parties brought a completely different energy. The California/Texas ska band showed up looking sharp in matching but differently colored sequin jackets and delivered a high-energy set. They played their newest single, “(In)Famous,” and closed with “Room Service (Kobe’s Song).”
San Diego’s Late for Life kept things moving with plenty of upstrokes and trombone. They opened with the catchy “To My Friends” and finished their set with an older fan favorite, “AWOL.”
Orange County’s own Hooray for Our Side kept the crowd moving with a fun cover of The Zutons’ “Valerie,” made famous by Amy Winehouse and Mark Ronson.
Next up was The Marijuana Brass, a name that is obviously a play on Herb Alpert and the Tijuana Brass. Their music had a laid-back Latino ska sound, helped along by the sultry vocals of their female lead singer, who performed in clown makeup.
They even opened with the Tijuana Brass classic “Lady Fingers.”
Swigfoot came all the way from Tucson and was a lot of fun to watch. During “Six Foot Bigfoot,” a guy dressed in a Sasquatch costume hopped onto the stage, bounced around, and eventually made his way into the crowd. They followed that with a fun and very “sexy” version of the Bloodhound Gang’s “Bad Touch.”
The Odd Advantage from Hemet were next. Their lead singer asked the crowd if they were ready for some punk rock before jokingly reminding everyone, “We’re a ska band.” Their sound definitely pushed beyond traditional ska, mixing in punk and even some hard rock. They also put their own ska spin on the dance hit “Better Off Alone.”
Skariginals were one of those bands that were just a lot of fun to watch. They kicked off their set with “Just Anything” and later brought out Ed, the lead singer of The Originals, to help them cover Reel Big Fish’s “The Kids Don’t Like It.”
Aaron Barrett and Scott Klopfenstein of Reel Big Fish also joined them for the song’s outro, giving the crowd one of the festival’s bigger moments. Skariginals closed their set with the ever-popular and danceable “Josephine.”
In the Locker Room, Phoenix’s The Originals, “a Reel Big Fish cover band?” that originally started as something of a joke, were getting ready to play their own set. The band has recently received a lot of attention after possibly being the catalyst that persuaded Reel Big Fish to get back together, an event many of us witnessed firsthand at the Vans Warped Tour in Long Beach last month.
The Originals’ lead singer, Ed, explained that they would be playing just “the B-sides” to avoid overlapping with Reel Big Fish’s recent Warped Tour set. They started with the deep track “Punisher” from Reel Big Fish’s 2012 album “Candy Coated Fury,” followed by “Your Guts (I Hate ’Em).” They eventually called Barrett and Klopfenstein to the stage to help sing their cover of Lita Ford’s “Kiss Me Deadly.”
Before closing, Barrett asked Ed to “hold his beer” as someone handed him a guitar, and he busted out the intro to Reel Big Fish’s signature song, “Beer.” Barrett then played the guitar solo behind his head, bringing a tremendous cheer from the lucky crowd.
Having to follow such an epic performance could have put the next band in a slightly awkward position, but East LA’s Matamoska was more than up for the task.
They are an established name in the Latin ska scene and took over the main stage to close out the festival. They began their set with “De Verdad” from their 2017 album “M Is for Murder,” and they also paid tribute to Riverside ska legends the Voodoo Glow Skulls with “Band Geek Mafia.” They finished the night with their classic “Flan.”
For a first-year event, the Summer Ska Classic felt like it got a lot of things right. Having two stages made it possible to keep the music going while giving the crowd two very different settings. The main stage had the room to let the bigger bands spread out, while the Locker Room had that small club feeling where you could get right up close to the performers.
More than anything, it was just good to see a day built around ska music. The genre may not get the same mainstream attention it did decades ago, but the fans are still here, the bands are still playing, people are still skanking, and Reel Big Fish is a band again. If this was the beginning of a new annual tradition at The Garden Amp, I’m already looking forward to next year.
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by Todd Markel Rock Images
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August 20, 2026UncategorizedLive at Pacific Amphitheatre
August 20th, 2026 Review by Amaris Becker
It’s been 15 years since The Head and the Heart released their self-titled debut album, and they brought all of it to the Pacific Amphitheatre on August 14th. They played the entire record front to back, and I was fortunate enough to experience it, and then some.
I honestly thought the Pacific Amphitheatre would be an odd venue at this time of year. It sits on the OC Fair grounds, which means the show doesn’t exist in a vacuum like it would in other parts of the year. I was concerned about the fair noise – games, rides, farm animals, and food stands – bleeding into the amphitheater and drowning out the bands, especially considering the genre of music, but I was completely immersed in the show and the overall experience.
Wilderado went on first and opened with “Stranger.” Max Rainer (lead vocals and guitar) spoke about the band’s touring and playing a venue located inside a fair, tying it back to the fairs he grew up around in Oklahoma, where the band got its start.
Rainer was joined by founding member Tyler Wimpee on guitar, Justin Kila on drums, and Aaron Boehler playing bass.
As the crowd filled in, I got the feeling that many people were hearing the band for the first time.
While not everyone knew Wilderado, the ones who did really knew them and were singing the lyrics along with the band.
The band truly connected with their audience through both crowd work and overall stage presence.
By the time they gathered around one mic to close with their hit “Rubble to Rubble,” which Rainer explained is about finding out his wife was pregnant, the crowd was singing it back to them.
When I think of the audience that would come to a Head and the Heart concert, I picture flower crowns, long flowy skirts, and, to put it simply, stereotypical hipsters. But I was pleasantly surprised by the diversity of this audience. A good number were millennial couples now taking their kids to experience the band they listened to in college, but there were people at all different stages of their lives and in all different aesthetics.
As the band took the stage, all dressed in different styles, I realized that this was the point. It was a family and friends show. Anyone could come and everyone would enjoy.
Due to this being the 15th anniversary tour, a celebration of their certified platinum self-titled debut, I was not surprised when the first track “Cats and Dogs” opened the set, followed by “Coeur d’Alene” and then “Ghosts.”
The setup of the stage was perfect. A couch, a lamp, and boxing gloves as decor, which gave the whole thing a homey, grounded feel, like we had wandered into someone’s living room instead of an amphitheater.
By the time “Down in the Valley” played, nobody was sitting and everyone was singing along.
The Head and the Heart’s music isn’t the kind you jump around to. Instead, you sing under the stars and sway as you let the lyrics take you somewhere. That was the energy of the night.
Then came “Rivers and Roads” and cheers went up from the crowd. But when Charity Rose Thielen (violin, guitar, piano, and vocals) stepped up to the mic, anyone still making noise went quiet. When she sang out those first few words, everything stopped. She didn’t get far into the song before the crowd could no longer hold their excitement and sang it back to the band.
“Honey Come Home,” “Lost in My Mind,” “Winter Song,” “Sounds Like Hallelujah,” and “Heaven Go Easy on Me” closed out the album. But what set the night apart wasn’t the album itself. It was the crowd work and the context they put the album in.
Jonathan Russell (lead vocals and guitar), one of the two founding members, gave real background on the songs and how they were created, the kind of context that makes you hear something in a different light after a decade of listening to it.
He told the story of how kismet the formation of the band was. He and Josiah Johnson, who stepped away from the band in 2016, met after an open mic night in Seattle in 2009, and everything followed from there.
Thielen, Chris Zasche on bass, Kenny Hensley on piano, and Tyler Williams on drums rounded out the lineup that recorded the debut. When Johnson stepped away, Matt Gervais, who is married to Thielen, took over filling out the live lineup on guitar and vocals.
Grassroots is how I would describe their rise. It wasn’t built on a record deal, but in a free room you could reserve at a public library in Seattle. This wasn’t a band in a hurry to end the concert or get through their set, and nobody wanted them to be.
Their hit album may have ended, but the set kept going with “All We Ever Knew,” “Fire Escape,” and “Another Story.” Wilderado came back out to join them for “After the Setting Sun,” which was a nice touch and brought a new level of energy to the stage.
Hensley on piano and keys was THE crowd favorite, with his name chanted back to him multiple times that night.
He had apparently gotten off a cruise that day and had his equilibrium thrown off, which he informed the audience was very important for playing piano.
The crowd wouldn’t have noticed even if he had messed up.
Gervais was the most fun to watch by a wide margin, with big stage energy, skipping around, clearly thrilled to be there. He was interacting with his bandmates, the fans, and the crowd as a whole. At one point he was simply chilling on the couch, playing his guitar, enjoying the night
Somewhere before “Tiebreaker” the energy settled and some people sat down for the first time all night. It did not last long. “Honeybee” started playing and brought everyone up again, and “Arrow,” “Virginia,” and “Missed Connection” played next. They ended with “Shake,” with nearly the entire amphitheater clapping along.
The crowd cheered for an encore and got one, but not the one anyone expected. Instead of a big finish, only Gervais and Thielen came back out for a piano version of “Beg, Steal, Borrow.”
It was just the two of them, and it felt raw and intimate after a night of harmonies and crowd-led sing-alongs. It was quiet, a departure from everything that came before it. We could feel the love the couple had for each other and for the music that they make.
The Head and the Heart’s music was built for the outside, and outside is where it lived. Where people could hug, sway, and sing. The Pacific Amphitheatre on that August evening met that need perfectly. An open-air amphitheater, in late summer, and I’d like to point out almost nobody was recording – they all were just too busy being there.
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by Todd Markel Rock Images
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August 20, 2026UncategorizedThe Sixth Annual
ROCK 2 FREEDOM BENEFIT SHOW
August 20th, 2026 by Stuart Karpel
As all of us music lovers know, instruments can act as a universal bridge that unites and inspires people to find connection. Communally supported artists can use their platform of expression to provide safe spaces for those whose voices aren’t heard enough.
This is exactly why The Offspring and .48 Special are coming together to present a show unlike any other.
Slave 2 Nothing, the World Famous KROQ, and In-N-Out are presenting the sixth annual Rock 2 Freedom show this November as a benefit concert to support organizations providing healing for people suffering from substance abuse.
In order to reduce the stigma surrounding this topic, it takes compassion and collective action, and as said by the In-N-Out President/Owner Lynsi Snyder, “Addiction destroys lives, shatters hearts and changes families forever.” Evermore the reason to hold this event.
Since 2016 Slave 2 Nothing, also owned by Snyder, has raised more than $23,000,000 to fight against substance abuse in our communities, as well as those affected by human trafficking. You can join in the cause by purchasing tickets for this event, which will take place at the Wiltern in Los Angeles.
The headliner of the night, The Offspring is the perfect band to cover this show and represent such an honest cause. While the band members themselves have not publicly reported anything regarding a personal history of drug use, their lyrics on songs like “The Kids Aren’t Alright” and “The Opioid Diaries” are representative of their knowledge towards the toll of addiction.
In times of crisis and concern it’s important to raise awareness of those who may feel trapped without any resources. Unfortunately, there’s people dying every day from substance abuse but with the creation of resources and new pathways to help those in need, we can all make a difference.
In addition, the host for the event will be KROQ’s Megan Holiday, she is also the founder of Life of the Party, whose dedicated advocacy for recovery and sobriety is portrayed through her own accomplishments, celebrating a decade of sobriety herself.
In a recent conversation with Megan, she said she is thrilled to be working with KROQ and In-N-Out on this. What makes it even more meaningful for her is the support of the Slave 2 Nothing Foundation, founded by Lynsi Snyder-Ellingson and Sean Elingson.
Holiday said they are two of the most compassionate and inspiring people she knows. She went on to say that she has known Sean since high school, so this is like a full circle moment for her.
Holiday highlighted that this year would spotlight the importance of extending a hand to those in need of help. Everyone knows someone who is battling this affliction. Buying a ticket or donating to one these charities is a way to help someone who needs a helping hand.
She ended by saying that not long ago that person was her, and it was scary to ask for help. But if she didn’t, she wouldn’t be where she is today. It is very important for those going through addicting feel comfortable asking for help. It’s that first step in recovery for the rest of your life.
If you or a loved one suffers from substance abuse, or you just want to enjoy some great music while helping an even greater cause, get your tickets – they go on sale Friday, August 21st at 10a.m. (local time).
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August 19, 2026UncategorizedLive at The Rady Shell
August 19th, 2026 Review by Fatima Kelley
The city was full of PDA tonight as a sold-out crowd welcomed Interpol back to town at the gorgeous Rady Shell located downtown on the picturesque San Diego Bay.
It was a perfectly crafted evening where moody and melancholy music danced hand in hand to the glittering downtown skyline reflecting on the water; an evening so perfect even the moon seemed inclined to offer a slither of a smile.
The night started off with Julie, a Noise rock trio from Orange Country. Their balance of ethereal soundscapes, grinding guitars, and skull-pounding drum beats were the perfect musical appetizer for the evening. This was my first introduction to the band, and the performance was impressive. Their nine-song setlist definitely piqued my curiosity and left me wanting more.
While I could pick up some influences from Sonic Youth and the Breeders, Julie managed to create a sound that is truly their own and seemed like a perfect fit to Interpol’s style.
Watching the opening band capture the attention of a sold-out crowd and turn them into new fans was truly a testament to their remarkable stage presence. I left the show curious and where to hear more of their music.
After a brief stage changeover, Interpol was introduced by San Diego’s own skate legend and longtime fan, Tony Hawk, who stated he will only retire once Interpol stops touring. Neither I nor the crowd that cheered the speech is ready for either of them to call it quits anytime soon!
Interpol took the stage as it was infused with fog, instantly allowing fans to be submerged in the music. The shell shaped stage perfectly cradled the atmosphere, creating an intimate discourse between stage and crowd. The lights warmed up as the music intensified, then switched back to cool shady blues while the music eased up, all magnifying the beautifully rhythmic dynamics that Interpol’s music offers.
They opened with “This Mirror Weights a Ton,” one of the four new songs from their upcoming studio album of the same name and due out August 28th.
I loved this song immediately when it was released a few months ago, but hearing it live made it much more special. It slowly builds up, dragging you further in note after note. Its rhythm steadily forcing your feet to march while eloquent guitar riffs undulate your body, leaving you lulled as if by surrounding waters until you find yourself completely buried in the sound.
They played “C’mere” from 2004’s “Antics,” which proved to be a crowd and pit favorite. The steady repetition of its guitar riffs is so hypnotic, and its bass line holds you captive. It was followed by “No I in Threesome” from “Our Love to Admire,” which I still consider one of their best albums, although possibly the most underrated.
They followed this with “All the Rage Back Home” and it was very difficult to walk away from the pit while this song was playing. I think I fall in love with Interpol a little more each time I hear this song and kudos to Matt Barrick of The Walkmen who is filling in on drums for Sam Fogarino. Fogarino’s shoes are really tough to fill but Barrick infused this song, and the entire evening, with his own magic.
“Rest My Chemistry” was another fan favorite of the night, its bass line forcing everyone’s feet to dance and its guitar riffs moving you.
Paul Banks’ voice felt particularly haunting and rich in this song. They followed this with two new songs, “See Out Loud” and “Wings on Fire,” from the upcoming album.
The band took us back to 2014 with “My Desire” from “El Pintor,” then back to 2004 with the always crowd pleasing “Evil” where Brad Truax’s haunting bass lines seems to echo from within. Then they jumped to 2007 with my favorite, “Pioneer to the Falls.”
This is one of the most musically eloquent songs I think I have ever heard. Daniel Kessler’s guitar twinkles of interstellar magic, strategically mimicked by the light design where mini spotlights floated across the back stage and roof of the shell.
Interpol’s music is so exquisitely baroque, rich, and full of layers and movement. Tonight’s set lists a continuous progression of crowd favorites where you could easily hear fans singing along to old and new tunes alike – a crowd that was screaming for the encore, and after the encore was left wanting even more.
“Narc” and “Obstacle 1” took us all the way back to the beginning to pull us straight into the future with “Iron City,” another from their upcoming release.
They ended the show in full magic with “Roland” and “Slow Hands,” which always gets the entire crowd dancing. The band came back to the stage with an encore that somehow just seemed to top it all – “NYC” followed by “Take You on a Cruise,” and then “PDA.”
If you have a chance to catch Interpol live, do so because they certainly won’t disappoint. Be sure to pick up their album when it drops later this month as well, plus visit the band’s website for details on listening parties for “This Mirror Weights a Ton” to be held August 20th.
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by Kelley Photography
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August 19, 2026UncategorizedBrings Heart, Soul & Pure Joy to Chula Vista
August 18th, 2026 Review by Joey Clark
There are certain artists you go see because you want to hear the songs that served as the soundtrack to your life. Then there are artists you see because you want to witness what happens when decades of experience, technical mastery, and genuine passion collide on a stage. Santana’s performance for their Oneness Tour at North Island Credit Union Amphitheatre was the best of both worlds.
“Legend” is a word that gets tossed around far too often these days, but when it comes to Carlos Santana, legend is an understatement. The Latin artist has crafted hits throughout his storied career and is highly respected by his peers.
The Grammy Award winner’s career has spanned more than half a century, and it would be easy to approach a show like this as a run-of-the-mill tour stop. The songs are there, the audience is ready, and the legacy speaks for itself. There is certainly no shortage of legacy acts who appear to be going through the motions, collecting a paycheck while relying heavily on the nostalgia attached to their catalog.
Carlos Santana wasn’t interested in doing that. From the moment he took the stage, there was an unmistakable sense that Santana genuinely wanted to be there. More importantly, he seemed genuinely grateful that the audience was there with him. That love for the audience was arguably one of the most memorable parts of the entire evening.
Santana’s playing has always been technically remarkable, but what continues to separate him from so many of his peers is the emotion behind every note. His guitar doesn’t simply demonstrate what he is capable of playing; it seems to communicate what he is feeling. On this night, that passion felt more vibrant than ever and the audience could not help but notice.
August 11th, 2026
There was a collective sense of awe throughout the performance as Santana and his band moved through a catalog that has influenced generations of musicians. Songs that many of us have heard countless times suddenly felt alive again, transformed by a band that has no interest in treating these compositions like museum pieces.
And then there is Santana himself.
Watching him play is a reminder that technical ability and emotional expression don’t have to exist independently of one another. He can execute with the precision you would expect from a musician of his caliber, but there is always something more underneath it.
A bend of a note, a sustained tone or a particularly intricate bar can feel less like a display of virtuosity and more like Santana is simply letting the music move through him. That distinction matters in a world of soulless shredding that fails to illicit emotion. It was evident when you were swept up in the intrigue of “Black Magic Woman,” felt the uncontrollable urge to dance with “Oye Como Va,” or vibing out to “Evil Ways.”
It’s one thing to watch a legendary musician reproduce the songs that made them famous. It is another thing entirely to watch that musician perform those songs with the same sense of wonder and excitement that made audiences fall in love with them in the first place.
The musicianship throughout the evening was exceptional, and the crowd was visibly blown away by what was happening in front of them.
Santana’s band is filled with players capable of keeping up with the demands of his music, navigating the intricate fusion of rock, Latin rhythms, blues and jazz that has defined his sound for decades.
It was also impressive to witness standout solo moments for the heartbeat of the band, Cindy Blackman Santana, Carlos’ wife and longtime drummer, as well as one from keyboardist and vocalist, Salvador Santana, his son.
Carlos was beaming with pride seeing his family members perform to the absolute best of their abilities.
But despite all the technical brilliance happening onstage, the evening never felt like a flat, calculated clinic. It felt like a celebration of Santana’s vast catalog. That may have been the most refreshing part of the entire night.
He wasn’t standing onstage asking the audience to admire his accomplishments – he was inviting everyone into the experience with him. In the middle of his set, he proclaimed that we are “One heart. One people.”
His kind heart was further showcased when he spoke with conviction about the fear so many people have about our neighbors to the south in Mexico. Santana stated, “Walls are for people who are afraid, there’s no need to be afraid. Let’s change the narrative and the paradigm. I wish for every one of you good health, peace of mind, and joy. God bless you.”
By the end of the night, it was impossible to miss just how much the audience had been affected by the performance. The cheers weren’t simply the reaction to hearing familiar songs – which included “The Game of Love,” “(Da le) Yaleo,” “Put Your Lights On,” “Foo Foo,” and of course, “Smooth.”
They were reactions to musicianship, passion and the unmistakable feeling that the artist standing in front of them still loves what he does.
Santana could have easily treated this chapter of his career as an opportunity to coast on an incredible legacy. Instead, he showed up with heart. That is what makes Santana so special.
The technical ability is undeniable, the catalog is legendary and the influence is immeasurable, but none of that would matter nearly as much if the passion wasn’t still there. On August 11th in Chula Vista, it was.
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Photos by Highway One Photography
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August 14, 2026UncategorizedMAKE A SPLASH
at ALT 98.7’s Summer Pool Party
August 14th, 2026 Review by Joey Clark
ALT 98.7 closed out the summer with the ultimate pool party! Longtime listeners and devoted fans battled the nearly 100-degree heat poolside at Yaamava’ Casino and Resort to experience an intimate performance by The All-American Rejects.
With the performance set two hours after doors, most radio aficionados in attendance took full advantage of the pools near the stage to cool off. Then there were the barricade warriors who decided to take on the heat with pure dedication by standing their ground from the time of doors. When asked how long these passionate fans had been waiting, many stated they had lined up hours ahead of doors to have a shot at landing a coveted spot in the front.
Whether you were a fan soaking in the pool or roughing it against the barricade, everyone was collectively enjoying the pre-show.
DJ Regul8 was enthusiastically bumping the alt hits we all love and the fun antics of ALT 98.7’s afternoon dynamic duo, Booker and Stryker, were hyping up the crowd for the stars of the night,
The All-American Rejects. The crowd sang along to songs being blasted over the speakers as a flurry of ALT 98.7 beach balls danced around the onslaught of AAR fans reliving the glory days of the mid-2000s.
Anticipation was building as the clock struck 8 p.m. Fans were darting their heads around attempting to locate the pop punk act. I noticed a door on the left of the stage had opened up, and then, out poured The All-American Rejects, hungry and ready to pounce on the stage. Before the boys took command, Booker and Stryker reemerged to give the band a proper introduction.
The band seemed like an absolute no-brainer to center the evening around for a variety of reasons. Not only did they release their first record in over a decade with “Sandbox,” but their cultural impact on the music industry as of late has been incredible.
Their outspokenness and commentary about the industry when it comes to ticket pricing, tour logistics for budding new artists, and corporate greed has been eye-opening.
In the past year, the band has stood by their words and taken it upon themselves to travel across the United States on their own dime and play a multitude of third spaces on the recommendation of their manager, Megan Kraemer.
On top of that, frontman Tyson Ritter and startup veteran Brian Battjer have developed PlayHouse, a platform to connect musicians with alternative venues. If there were any doubts of why The Rejects were the band selected for this truly special evening, they were squashed immediately.
The band kicked off their set with the sonic punch of “Easy Come, Easy Go” from “Sandbox.” Everyone was instantly hooked and sang the song back as if they had it engrained in them for the last decade. It was easy to recognize why the track had been the band’s first song to make the Alternative Airplay chart since 2009 – it was absolutely infectious.
The night proceeded with a variety of songs from their entire catalog which might be an advantage of having five studio albums. They’re able to dial in solid offerings off each record and gift that to each era of their fanbase, which is not something every band is capable of doing. “Sandbox” cuts like “Get This” and “King Kong” wove seamlessly into the framework of the set.
You can audibly hear an evolution of The Rejects’ sound from “Swing, Swing” off the self-titled debut, to “It Ends Tonight” from “Move Along,” jumping ahead towards a song like “Fast and Slow” from “Kids in the Street” to the latest material, but they all co-exist beautifully.
There was never a dull moment, especially when you have Ritter as a frontman with devilish, yet charming sense of humor. About midway through the set, Ritter had addressed the pool closest to the stage and had said their sound tech said to be careful of splashing, hilariously mocking the very notion to keep down the splashing and egged them on to keep doing it. They did as the barefooted singer requested.
Following a few more songs, Ritter took a moment to joke, “See if waterproof cameras didn’t exist you would all be like oh, oh, oh shit. Fucking iPhones.” Everyone cackled at the antics, but it was also pleasant to observe those who read between the lines and stowed away their phones to just simply take in the rest of the show as it was meant to be – a communal end to the summer.
What impressed me the most about the show, outside of hilarious antics, was the pure musicality of the band. While The Rejects may come off as scrappy and unpolished, their delivery is as solid as any another longstanding act amongst their peers.
Ritter has continued to reach new heights as a vocalist not only in the studio but live as well. In an instant you recognize his vocals and they command attention like no other, all the while providing a sweet low end thump when armed with a Serek Lincoln or Epiphone Thunderbird bass.
Co-founder, guitarist and backing vocalist, Nick Wheeler is an absolute joy to watch perform, his energy is prolific and it’s amazing to witness him and Ritter bounce off one another knowing they’ve been building this band together since they were in high school.
Guitarist Mike Kennerty is like Crash Bandicoot with a guitar in his hands; he absolutely doesn’t let off the gas when he’s lost in his performance and gives the audience a spectacle to take in and is a blur of hair and a guitar. With Chris Gaylor, you get more than a drummer; you get a true marksmen of tactical precision truly enjoying every moment behind his drum kit.
The evening came to a close with the anthem “Gives You Hell.” It felt like a stadium-sized moment being lived out on the pool deck at Yaamava’. Audience members sang along in unison throughout the duration of the song and the concertgoers in the pool splashed vigorously to their heart’s content, giving it all they had left before the night was over.
The All-American Rejects are one of the best acts out there today and I cannot recommend it enough to catch a performance of theirs next time they’re in town. You will absolutely be blown away!
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by Highway One Photography
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August 12, 2026UncategorizedI BUILT YOU A TOWER TOUR
Live at The Greek
August 12th, 2026 Review by Stuart Karpel
To capture the essence of a Death Cab for Cutie concert, try to think back to the first time you truly felt free of responsibility. Whether that brings you back to memories of an unforgettable vacation or the innocence of childhood, that feeling of pure freedom is the perfect way to describe seeing the band live.
Last Sunday, more than 5,500 people from every corner of Los Angeles gathered at the Greek Theatre to experience Death Cab live and it was unlike any other that this venue has seen before. From the incredibly unique sound of Ben Gibbard’s singing voice, to the hum of instruments that climbed miles up Mount Hollywood, every song from their 24-track setlist sounded incredible.
The large stadium and stage – and the hills behind it – have seen countless artists since its opening in the ‘30s. Elton John, Liza Minnelli, Frank Sinatra, and so many historical performances have taken place here, and it remains a desired location even now. In other words, it’s not a shock to see a band as big as Death Cab featured on the marquee, marking the 17th show of their summer tour.
Opening the show for the capacity crowd was Brooklyn’s own, Nation of Language. This Indie Synth-Pop trio took the stage by storm. The band consists of Ian Richard Devaney (guitar and lead vocals), Aidan Noell (backing vocals and keys), and then there’s Alex MacKay (bass). It is simply amazing how much noise three people can make without a drummer.
Their sound and vocals were sharp, and the early birds appreciated their energy. Apparently, there were New Yorkers in the crowd that knew their set. Opening with “A New Goodbye,” “September Again,” and “In Your Head.” Devaney and Noell had great chemistry and MacKay could really slap the bass.
The crowd sang along to “Weak in Your Light,” “Inept Apollo,” “The Wall and I,” and before you knew it – they were walking off to “Across That Fine Line,” The crowd was very happy with their performance, there were chants of “Gouge Away,” a Pixies cover that their fans wanted them to play. Perhaps the next time we see them they will play a longer set.
After a brief intermission, the crowd was ready to see Death Cab. The band’s 2026 summer tour is in support of their new project, “I Built You a Tower.” Just like in a music video, the lights dimmed, the crowd roared and out came the band.
The band was ready to go. They opened with a couple of chart-toppers, “Full of Stars” and “Riptides,”
It was not surprising to see so many fans sing along as the group played their hearts out.
The setlist featured seven songs from the new album, five songs came from the 2005 album “Plans,” and the remainder were from various time periods of their discography. The new album is their most technically-sound project yet, and fans seem to agree as some tracks have reached more than three million plays.
Once the sun fully set and the band reached the middle of their setlist – performing “Black Sun,” “Photobooth,” and “Summer Skin” – they slowed down the mood to allow Gibbard to play everyone’s favorite acoustic solo, “I Will Follow You Into the Dark.”
The fans and band alike swayed and cheered every melody throughout the night, like palm trees whistling in the wind in unison. Although the Los Angeles city life that surrounds the Greek is known to be bustling and full of hustlers, it felt like the entirety of the city stopped to listen to Death Cab, as people passing by the stadium rolled their car windows down rather than listen to the radio.
By playing more fan-favorited tracks, like “Cath…” and “Crooked Teeth,” the group knew that it was time to bring out the big-guns for the upcoming finale. This was not the time of the night to hit the merch line or bathroom!
With the band’s amazing performance almost reaching the two-hour mark, they decided to end the set with “No Sunlight,” “Here to Forever,” and “Soul Meets Body.”
This seemingly did not feel like the end of the show though as the eager energy of the fans itched for more anthems, clapping and cheering loudly to give the band the flowers they deserve.
As the band walked off stage, the stage crew began to wrap up the auxiliary cables, but the cheering felt endless. Only two minutes after they had bowed and thanked everyone for coming to see them perform, they felt compelled by the fans’ roar of enjoyment and appeared back on stage to everyone’s surprise.
Their encore consisted of “Title Track,” “Transatlanticism,” “Marching Bands of Manhattan,” and ironically, “A Movie Script Ending” to truly end the movie-like concert.
Not only did it fulfill the wishes of super fans and everyday concertgoers to see the band back onstage, it greatly represented the ideals of why the band decided to go on tour in the first place: Connection with their fans.
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by Highway One Photography
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August 11, 2026UncategorizedINDUSTRY REPORT # 70
OC’s NEXT BIG HIT!
August 12th, 2026 by Jimmy Alvarez & Clara Amaris Becker
For decades, Southern California has been a destination place for people worldwide. For Orange County, Disney, and OC sports teams – such as the Ducks and Angels, along with NCAA basketball tourneys – have brought people here for more than fun in the sun.
Equally, the OC’s vibrant music scene has been a big part of its colorful entertainment legacy. Places like Irvine Meadows, House of Blues, Honda Center, Five Point Amphitheatre have delivered unforgettable moments. Now, Great Park Live is ready to take center stage as part of the new entertainment hub that is about to explode.
Earlier this week we had the opportunity to chat with Cory Hilderbrand, Deputy Director of Community & Library Services at the City of Irvine, and Melissa Haley, Director of Communications & Engagement also at the City of Irvine. Both have been instrumental in bringing the vision of the Daisy Chain Fields to reality. It is clear that the entire city team put a lot of blood and sweat into it to not only make this event happen, but to create an atmosphere at this facility that is nothing short of top notch.
In putting this story together, we had to go back in time and address what led us to where we are today. The legacy of Irvine Meadows and Five Point Amp had great successes; but it also provided lots of learning experiences. As a result, delivering a venue that put consumer experience at the top of the list while being a good neighbor to the locals turned out to be equally important. I was impressed how each of these city executives were on the same page when describing the journey to where the venue is today. Lots of preparation, listening, learning, and evolving were and continue to be important to the City of Irvine.
GPL is laid over a sprawling 500 acres with unbelievable community and music venue amenities. The layout allows for multiple stages and an open floor format that can be converted to open and festival seating. Most impressive, the festival floor plan can be adjusted to accommodate up to 45,000 crazed concertgoers.
The care they put into GPL is evident. I asked how important it was to them to keep the OC feel top the venue while taking into consideration what concertgoers want and keeping the look appealing to the locals. Hilderbrand was honest and sincere – he said, “I think it was very important. I think that’s one of the things that we hear probably the most that compliments that we get of that facility is that it still feels like a park-like setting. It’s not. An industrial type of amphitheater. Irvine Meadows was great, but it all the seats and it felt like an amphitheater where Great Park Live really has that open air feel and the natural grass, the views of the balloon, which is obviously an iconic feature of Great Park.”
With a new venue in place, the first mega event coming to GPL is Daisy Chain Fields on August 29th, and tickets blew out like wildfire once they went up. The festival comes to us from the heart and soul of Olivia Rodrigo. She too went through a journey that inspired this sonic vision. Truth be told, a vision is one thing, making it reality is another. I asked Hilderbrand what it was like to work with Rodrigo’s team. He said, “They have been absolutely fantastic to work with.”
August 29th, 2026
I asked if it was fair to compare this festival to the ‘96 super-fest, Lilith Fair. Given today’s hyperbolic political environment, it is difficult at best to promote any topic that doesn’t draw the ire of somebody. So far that hasn’t been an issue. It was expressed that all people’s rights to express themselves is always recognized and respected. This event will respect all, and security will be provided to ensure that all parties attending will enjoy a non-confrontational festival. For that,
I applaud their effort to keep the peace no matter what. For those with inquiring minds, there will be plenty of security inside the venue and outside of it. That said, the festival will provide a platform for charities and organizations that provide services to women – including reproductive rights. In the Philanthropy Village there will be booths that will provide education, dialogue and community engagement for women. Proceeds from the show will go towards these charities – which translates to the ticket you purchased matters.
As for the show itself, there are some definite heavy hitters. The aforementioned Olivia Rodrigo will be showcasing her larger-than-life musical spectacular.
Artists that are “IT” right now, including Chappell Roan, Doechii, KATSEYE, and Santigold.
Also on the bill will be Shirley Manson and her uber-alt rocker mates known as Garbage.
Another female fronted band will include the legend Kim Deal and her mates The Breeders.
Concertgoers will also experience the sights and sounds of The Yeah Yeah Yeahs’ lead crooner, Karen O, the legendary Fleetwood Mac vocalist, Stevie Nicks, and if that’s not enough, Lilith Fair founder, Sarah McLachlan will also take the stage.
Other bands to look out for include punk rockers, Bikini Kill. There’s the electrifying sound of Die Spitz, and Mitski will definitely bring the boom.
There are a number of other bands playing that will entertain you from beginning to end. For those attending, here are the set times:
A few things a concertgoer may notice immediately is the aesthetic look of the venue and how it is uniquely Orange County. The look, feel and vibe it gives is like no other venue you have ever been to.
Because the City of Irvine has considered every angle to make it the best experience possible, they have worked out details with OC Vibe and UC Irvine to provide additional parking and shuttle services. Here’s a link if you want to take advantage of the offsite services.
PARKING | SHUTTLE
As for what to expect, a full day of great music, lots of information that women can take in to help them navigate life in 2026. I asked Hilderbrand and Haley if this is just the inaugural event with more to come down the road. They said they will see how this one plays out, but they also seemed very optimistic that this one will not only be a festival to remember, but a festival that matters beyond the music. Women standing up for things that matter to them, just like their Lilith Fair sisters did.
The music landscape for Orange County looks very bright. With the launch of OC Vibe, other established venues, and GPL taking off, the OC will definitely be an entertainment juggernaut we can all benefit from.
For those not familiar with the area, here is the site map:
Bottom line, Great Park Live is a class act from top to bottom – Daisy Chain Fields will showcase what the world of music in Irvine will look like for years to come
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SID 260812 | TRACI TURNER | EDITOR [...]
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