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One More Epic Show at The Observatory OC
January 9th, 2026 Review by Todd Markel
For a number of years now, the early January shows by T.S.O.L. have become a local tradition. They were usually the first show of the year for many people, including myself, and because of this, I always looked forward to it to start the year off right.
This year, though, that tradition felt a little heavier and perhaps a little somber. In the weeks leading up to the shows, Jack Grisham had been posting messages online that just stopped short of a formal announcement but landed hard all the same. No farewell tour, no definitive declaration, just a repeated, matter-of-fact statement that “46 years is enough.” The years have been taking their toll, and perhaps it was time to call it a day.
It was a wet and rainy afternoon, and it was clear this might be more than just another January ritual as people filed in with the clear understanding that this night could carry some real significance. It was also completely sold out.
In the Constellation Room, Long Beach’s Cheeseball kicked things off the right way. They tore straight into a song called “Buzzballin” and closed with the tune “16 Bit,” delivering a loud, fast set that felt tailor-made for an early-year punk show.
Over on the main stage, Loose Trucks followed with some Skate Punk, opening with “New Normal” and “My Wife” before wrapping it up with a charged “Hate the Police.”
They absolutely pushed the energy up another notch.
With so many great bands playing tonight, the show had an indoor festival feel to me. If you were inclined to follow the action, you could just bounce between rooms and have an epic evening as I did.
Back in the smaller room, Noise Agents originally from the UK, but now calling themselves “a Californian working-class Streetpunk band,” leaned hard into punk and Oi, ripping through a song appropriately called “Punk and Oi!” and “Scarred Generation.”
Back on the main stage, Sam King and Ceschi Ramos of The Codefendants kept the momentum rolling on with hard-hitting numbers like “Def Cons” and “Fast Ones.”
Digging even further back into punk history, The Zeros, whose roots stretch all the way back to 1975, as they closed the night in the Constellation Room by absolutely tearing it up; a reminder of just how deep Southern California’s punk lineage runs.
Then it was time, T.S.O.L. took the stage to a roaring reception. Jack Grisham was front and center alongside Ron Emory, Trevor Lucca, Val Hernandez on drums, and Greg Kuehn playing keys.
The room felt packed with history, both onstage and off. Members of The Offspring, Bad Religion, The Last Gang, Gary Tovar, and Rikki Rockett were all spotted backstage, adding to the sense that this wasn’t just another show but a must-attend event.
Grisham’s recent comments lingered over their set. He’s been open about what it takes to keep T.S.O.L. going: the physical wear, the mental grind, and the fact that they still do things the hard way, no buses, no big crew, just a van, long drives, and cheap hotels.
With Emory dealing with ongoing health issues and Lucca stepping in and holding things down impressively, the future feels uncertain. Grisham has said plainly that when Ron is done, that may be the end of it all, if it doesn’t come sooner.
The band opened with “Beneath the Shadows,” the title track from their 1982 sophomore album, immediately setting a dark, urgent tone before jumping back even further with a song from their debut, “Sounds of Laughter.” From the start, Grisham looked genuinely happy, grinning, mugging for the crowd, and sticking his tongue out like a kid who still can’t believe he gets to do this.
What followed was a set that felt like a guided tour through the band’s entire history. “Darker My Love” hit with the kind of weight only years of shared experience between the band and audience can give it.
“World War III” brought one of the night’s most memorable moments, with Emory and Lucca swapping instruments, as Ron said, “I’m filling in for Mike Roche,” as he grabbed the bass, while Trevor handled guitar duties. It felt spontaneous, natural, and perfectly in step with the night’s spirit.
Between songs, Grisham joked, “I guess I have to threaten to end the band to get my friends to come to a show,” a line that drew laughter but also had a bit of truth, given the circumstances.
The big songs kept coming: a ferocious “Fuck You Tough Guy,” the undeniable sing-along of “Dance with Me,” and a tight, driving “Low-Low-Low,” each met with an enthusiastic response from the crowd.
As is the norm, they closed with the ever-popular “Code Blue,” a song that felt less like a goodbye and more like a final exclamation point. There was no farewell speech, no emotional wrap-up, just T.S.O.L. doing what they’ve always done.
Whether these early January shows truly mark the end remains to be seen. But if this really was the final chapter, T.S.O.L. closed the book the only way they ever could: on their own terms.
SHOW PHOTO GALLERY
by Todd Markel Rock Images
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SID 260107 | TRACI TURNER | EDITOR
