Chance the Rapper Brings a Full-Circle Moment to Salt Lake City on the Coloring Book 10th Anniversary Tour
Article written by and Photos by Alec Moody
Article written by and Photos by Alec Moody
There are some concerts that feel like more than just another night of live music. Chance the Rapper’s September 29th performance at The Union in Salt Lake City was exactly that for me. As the thirtieth stop of his forty-one-city tour, this night marked a full-circle moment that I never could have imagined when I first saw Chance nearly a decade ago. In 2017, I took myself to his Be Encouraged Tour at the Maverik Center for my eighteenth birthday. I stood front row, watching one of my favorite artists perform from just feet away. Nearly ten years later, I found myself on the other side of that barricade, photographing Chance the Rapper as a member of the media, for my own publication. To experience that transformation while photographing one of my top artists of all time made this show incredibly special before Chance even stepped onto the stage.
The night began with New Orleans, Louisiana artist, producer, and visionary La Reezy, an artist who has been redefining what independence in hip-hop can look like. He and his keyboardist Clay Dough immediately brought an incredible amount of energy to The Union, kicking off his set with “Hot” before transitioning into “Family Bizzy.” Reezy’s performance was packed with high-intensity moments, keeping the crowd engaged from beginning to end. At one point, La Reezy took a moment to shout out all of the women in the audience, thanking them for sticking around with all of the guys they came with before launching into “How Did You Love Me?” Later in his set, following “MOVE,” he made sure to let Salt Lake City know that the crowd had brought the highest level of energy he had seen throughout the tour so far. Coming from an artist who had already performed across dozens of cities on the run, that felt like a pretty significant compliment to the Salt Lake crowd.
Once La Reezy left the stage, the energy didn't have much time to settle. Chance’s longtime friend and group member Peter CottonTale took over the stage, stepping behind the decks and DJing a handful of songs to keep the crowd moving. It was the perfect transition into the main event, with CottonTale continuing to build anticipation before Chance finally emerged.
When Chance came onto the stage, he did so to “All We Got,” and The Union immediately erupted. The room transformed into a frenzy of screaming fans as Chance launched into one of the most recognizable songs from his catalog. For me, being in the photo pit made the moment surreal. During those first three songs, I was doing everything I could to remain focused on capturing the performance while simultaneously trying not to scream the lyrics back at him. That became especially difficult when he performed “Blessings,” one of my personal favorite Chance songs. Photographing an artist whose music has been such a significant part of my life while standing just feet away from the stage was something I had dreamed about for years.
Shortly after those opening songs, Chance took a moment to greet the Salt Lake City crowd and apologized for taking a full ten years to make his way back to the city. Considering my own history with his music and his last SLC performance, that acknowledgment and apology felt worthwhile. One of the most memorable moments of the night came when Chance asked the audience to put their phones away. After acknowledging that everyone had gotten their videos during the previous song, he encouraged the crowd to simply live in the moment with him and his bandmates Peter CottonTale and Stix. He then launched into “No Problem,” giving everyone in the room a chance to experience the song without a sea of phone screens between themselves and the stage. It was a small request, but it made the performance feel significantly more intimate in a room already filled with thousands of people.
Throughout the night, Chance moved through music spanning his fourteen years of releasing albums, giving longtime fans plenty of reasons to celebrate his catalog. However, with this tour serving as a celebration of the 10th anniversary of Coloring Book, the album naturally received plenty of attention. Songs including “All Night,” “No Problem,” “Angels,” “Juke Jam,” “Smoke Break,” “Summer Friends,” and more brought the audience back to the era that helped cement Chance as one of hip-hop's most beloved independent artists.
Adding another layer of nostalgia to the performance was the massive LED screen positioned behind Chance. Throughout the show, it displayed photographs and visual moments from different points throughout his career, allowing the audience to watch his journey unfold alongside the music. At one point, the Coloring Book album artwork appeared across the screen as Chance continued performing songs from the project, creating a visual time capsule for fans who have been following him since the album first dropped a decade ago.
For the final song of the night, I was fortunate enough to be granted permission to return to the photo pit. Chance closed out the show with “Same Drugs,” one of the standout songs from Coloring Book. As the song reached its conclusion, confetti began falling throughout The Union, covering the stage and crowd as Chance brought the performance toward its emotional finish. Unfortunately, the show had reached its allotted time, meaning Chance had to bring the night to an end sooner than anyone in the room wanted.
Before leaving the stage, Chance made one promise to the Salt Lake City crowd: it wouldn't take him another ten years to come back. After waiting a decade for this particular moment, hearing him promise that his next visit would come much sooner felt like the perfect way to close the night.
From beginning to end, the energy inside The Union was electric. But beyond the screaming fans, the confetti, the lights, and the music, what made this night so meaningful was the overwhelming sense of nostalgia that surrounded it.
Some concerts are simply shows. Others become memories that stay with you long after the final song. Chance's Salt Lake City performance was undoubtedly the latter for me. It was everything I could have hoped for from a night celebrating an album that has meant so much to so many people, and it served as a reminder of just how powerful music can be when it follows you through different chapters of your life.
With only five cities remaining on the tour, there's still time to experience this celebration for yourself. If you haven't had the opportunity to relive Coloring Book with Chance the Rapper and experience this incredible anniversary tour, now is the time. Get your tickets before the final curtain falls — and hopefully, unlike last time, we won't have to wait another ten years for Chance to make his way back to Salt Lake City.
KEEP UP WITH CHANCE THE RAPPER ON HIS INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE HIM HERE
Tame Impala takes Toyota Center on a concert experience unlike any other
Article written by and Photos by Mauricio Domingo
Article written by and Photos by Mauricio Domingo
With a 360 stage set right in the middle of the area, at times resembling a spaceship from a different planet, ready to beam onlookers up, a smaller b stage for a more grounded and intimate experience, accompanied by the overall set design filled with lasers, confetti and lights that put you in a trance and are designed to blend perfectly well with each note played, it’s no wonder the Deadbeat Tour is one of the most talked-about and sought-after shows to attend of the year.
Tame Impala is the brainchild, or alter ego of producer, multi-instrumentalist, singer-songwriter Kevin Parker, yes, it really is all just one guy. Arguably spearheading what modern psychedelic rock/pop has become for the last decade and a half, Kevin's decided to take a different approach on his latest project, Deadbeat, which was released last year. Implementing electronic and dance elements into the record, it’s a stray away from what fans have typically come to know him for, but it works.
September 19 saw Tame Impala take the Deadbeat Tour to Toyota Center in Houston, Texas. Easily selling the place out, close to 20,000 fans started to make their way in once doors opened with some general admission ticket holders enduring the blistering Texas heat for hours at a time in hopes of securing a barricade spot on the floor, upon arrival you’re presented with two stages. The main stage, planted right in the center of it all, and its counterpart b stage with a dedicated walkway for easy access to and from the main stage. All eyes were on when Kevin would take the stage, but before doing so, opener Dominic Fike came on as the opening act. Dominic gave us a mix of alternative rock, hip-hop and pop tracks for the next 45 minutes with the occasional talk to the crowd. A good amount of the venue had already filled up by this point with Dominic making note of it, he also couldn't help but mention the love and hospitality he's been given during his time in Texas, as well as his love for the food here, mentioning brisket specifically.
It took around another forty-five minutes after Dominic's set concluded for Tame Impala to come on stage, and by this point in the night, not one seat was left unattended. When those lights turned off to signify the show was about to start, the excitement showed as the screams were loud enough to do irreversible damage to your ears.
Yes, Tame Impala is the work of one person, but in no way can it be produced live by Kevin alone, which is why he has called in the help of longtime touring members Julien Barbagallo, Dominic Simper, Cameron Avery, Jay Watson, and newest addition to the touring band James Ireland. Each member slowly made their way, passing the B stage towards the main stage with screams from fans knowing they're about to experience a show unlike any they have ever seen. Kevin Parker soon follows, being the final member to walk out and make it to the stage, where once he gets on, a spotlight aims towards his direction, illuminating him as he looks out in the crowd, waving.
Everyone takes their positions as Kevin greets the Houston crowd before starting the set off with “Apocalypse Dreams.” Nearly spanning seven minutes, you're taken directly into a rollercoaster of sounds and hypnotic tones that already make the price of admission worth it, with lights beaming down onto the stage that are in sync with the song, and large screens on each side of the stage near the top for everyone to get a good view of what's going on even if you are in the nosebleeds.
About halfway into the song is when you get a glimpse into one of the many spectacles that will be introduced throughout the night, as a laser light show starts during one of the beat drops. The large screens, now reading Deadbeat across all panels that are normally suspended above the stage slowly fall down onto it as “Deadbeat Jam” soon follows as the next song, which is exactly what it sounds like: an electronic/dance inspired jam song that also acts as a way for Kevin to officially welcome everyone to the show and ask if everyone's ready to have some fun. What soon follows are fan-favorite songs like “Borderline” from his 2020 album The Slow Rush, which features red lights throughout the whole song that fit the color theme of the album, and then “Loser”, one of the lead singles off of Deadbeat and one that has grown in incredible popularity thanks to it being featured in Spider-Man: Brand New Day.
You couldn't help but notice how detailed everything was; each song had new light designs and visuals. Some songs felt like you were about to get abducted by an otherworldly entity; others gave off the feeling of clubbing with 20,000 people. For example, “Breathe Deeper,” when for a good chunk of the song, one singular light hovered over the stage going in a circle. Or when “Elephant” came on, and right as the beat dropped, every light turned into a strobe, all going in different directions. About halfway into the set, Kevin leaves the main stage, followed by the cameraman, and goes backstage to take a bathroom break. All planned out, of course, as when he finishes, instead of going back to the main stage, he stops by the smaller, more inclusive B stage to play some songs. Nearly at eye level and only a couple feet away, fans scurried their way over in hopes of getting as close as possible. Giving off what feels like an idea of a bed/bedroom, with lamps and pillows on stage as well as some mini synths, it is very stripped back in the sense that not a ton of energy needs to be exerted and serves as a good resting point. Kevin goes on to play two dance/electronic oriented songs on this stage, “Ethereal Connection” and “Not my world.”
Eyes go back towards the main stage as an interlude starts that then segues perfectly into another fan favorite song “Let It Happen.” High energy was present for the whole duration as everyone in the audience started to sing along. One of the main talking points took place about two thirds into the song, as when the beat dropped, confetti shot out of cannons, lasers running rampant and a plethora of lights setting off all at the same time. A bit later Kevin talks again to the crowd and mentions that they're going to play a song they have not done in a while, and that they are only doing it for the Houston crowd, you can hear fans screaming out what song it could be, it ended up being “Love/Paranoia,” which is the first time it has been played in America this year. “New Person, Same Old Mistakes” acts as the last song before the encore with more captivating lights, lasers, and another round of confetti.
The encore starts off with “My Old Ways,” the first track off of Deadbeat followed by Kevin's most well known song “The Less I Know The Better,” which holds true seeing how every person in the venue started to sing and at times, scream the lyrics. No better way to cap off the night than to finish it with the closing track off Deadbeat, “End Of Summer.” Another dance/electronic inspired song that had lights to match the energy, along with more confetti and lasers to send it off.
Every single person I have interacted with post concert has told me it was the best live show they have ever been to, whether it was said by someone who may not have many shows under their belt, or concert veterans who have decades of experience, it was all said the same. Tame Impala's live shows will alter your brain chemistry and have you rethinking how live shows should be. Although they have wrapped up their North America Tour, if you're lucky enough, you can catch them in Australia later this October, although I'm sure they will be back in the states sooner than most would think.
KEEP UP WITH TAME IMPALA ON THEIR INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE THEM HERE
Pond prove yet again why they are amongst Australias best modern psych rock bands
Article written by and Photos by Mauricio Domingo
Article written by and Photos by Mauricio Domingo
If there has to be one word to describe Pond, it would be consistency, time and time again, they show it through their constant album releases. Having now released eleven studio albums over the last seventeen years with each one bringing something new to the table, yet remaining true to the Pond sound. But best of all, the live performences are truly a spectacle to behold. After what seems to be a lifetime ago, Western Australia's psychedelic rock/pop band made their return to Colorado on September 12 at the Gothic Theater currently on tour supporting their new album Terrestrials.
For those unaware, Pond consists of frontman Nicholas Allbrook, Jay Watson, Jamie Terry, Joseph Ryan and James Ireland. Heading inside I immediately noticed the sheer amount of other band t-shirts people were wearing that share history with Pond. Two of which stuck out like a sore thumb, such as King Gizzard & The Lizard Wizard whose member Ambrose Kenny Smith did a collaborative album with Jay Watson, and Tame Impala, which aside from being a former member of the band, went on to help co-produce five of Ponds records.
You could tell the fanbase rode deep, with some people flying in from out of state just for this show. Nick and Co. went onstage around 9 to what looked to be a fully sold out audience, as there was hardly much room to move, and as you can guess the crowd got loud. Cheers and claps went on for a while as everyone got settled into their positions to deliver an electric performance. Before doing so, Nick went on to speak to the crowd directly, mentioning how they have finally broken the curse and are finally playing at the Gothic Theater. Which may not have made sense to most of the crowd unless you were in the know, thankfully I was.
Back in 2022 Pond were on tour in the states with the Gothic Theater being a stop. Unfortunately, James suffered a back injury before getting the chance to play in Denver, which then caused them to reschedule the show to the following year. Easy enough some would say, except it wasn't. Following that another unfortunate event pursued which was Nick's Visa application not getting approved on time, to no fault of their own, which then resulted in the cancellation of new and rescheduled dates for 2023. They have since been back to Denver, but not at the Gothic, until now.
So it’s easy to say that the crew were ready, essentially three years in the making, Pond were ready to give it their all, and their all is exactly what they gave. Immediately starting with the tone setter “Whatever Happened To The Million Head Collide?” Starting off with a well paced beat with Nicks vocals and Jamie’s bassline leading the way, it goes on for some time before it breaks into fuzzy guitar riffs by Jay and Joseph and Jamie with the clashing drums, making the crowd go wild as a small mosh pit formed. From then on it was all gas no brakes with Nick being at the forefront of it all. His constant energy and interaction with the crowd was a warm welcome. For the next hour and a half over the course of sixteen songs, Gothic Theater was rocking, nonstop dancing, moshing, singing, you name it. Blending new material such as “Skyworks” or the catchy “Two Hands” with the old including the fan favorite hypnotic “Sweep Me Off My Feet” and groovy “Paint Me Silver.” You could not help but immerse yourself in the layers of sound being produced. Being the bold and crazy man that Nick is, during the second to final song “Terrestrials,” Allbrook dove off the stage and crowdsurfed for a while before being surfed back to the stage. There's a reason they are amongst the best bands to come out of Australia in recent times. Anyone who attended the show will tell you the amount of energy the band put out that night, and how the crowd reciprocated it. Although their current tour is nearing its end, you better believe they'll be coming back soon, and when they do, you will not want to miss it.
KEEP UP WITH POND ON THEIR INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE THEM HERE
Slayyyter Delivers an Unforgettable Finale to Her Sold-Out Hometown Run at The Pageant
Article written by and Photos by Ryan Huppe
Article written by and Photos by Ryan Huppe
Slayyyter wrapped up the third and final night of her sold-out hometown run at The Pageant in St. Louis with a show that never let its foot off the gas. Before she even stepped on stage, fans packed shoulder-to-shoulder were already chanting her name, and the second the intro hit, the room exploded.
Opening with "Dance," Slayyyter wasted no time throwing the crowd into the chaos. Every lyric echoed back at the stage as fans screamed along, setting the tone for a night that felt more like a pop-fueled club than a theater show.
The momentum never dipped. Tracks like "Beat Up Chanel$," "Cannibalism!," and "I'm Actually Kinda Famous"had The Pageant screaming every word back at her, but it was "Crank" that completely blew the roof off the venue. The entire floor was bouncing, the barricade was shaking, and the room turned into absolute mayhem from front to back.
One of the biggest surprises of the night came when Slayyyter debuted her brand-new track, "brand new chanel$." Even though it was the first time fans were hearing it live, the reaction made it feel like it had already earned a place in the set.
More than anything, it was Slayyyter's presence that drove the show. She didn't need elaborate production or constant choreography to command the room. Every strut across the stage, every smirk, and every interaction with the crowd had fans hanging on her every move. She knows exactly who she is as an artist, and that confidence translates effortlessly in a live setting.
Three sold-out hometown shows don't happen by accident. Slayyyter has built a fanbase that shows up loud, knows every word, and feeds off the energy she brings to the stage. Night three was the perfect ending to a hometown run that proved exactly why she's one of pop's most captivating live performers.
KEEP UP WITH SLAYYYTER ON HER INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE HER HERE
No one writes longing quite like Death Cab for Cutie
Article written by and Photos by: Kili Goodrich
Article written by and Photos by: Kili Goodrich
Listening to Death Cab for Cutie has always been ceremonial for me, as I am sure it can be mirrored in others' experiences. For me, the memories are mostly woven in CDs and the digital download. A soft slick of plastic from popping out a CD and sliding it into a player. Often to be played to fill others’ ears. Friendships bloomed over singing along to songs like “Soul Meets Body,” and “Crooked Teeth.” The music translated to moments alone. Floating on a puddle of sadness with “I Will Follow You Into The Dark.” The untangling of earbuds to feel oneself warm to the contradiction of “I Will Possess Your Heart.” Where obsession is mistaken for devotion. Death Cab For Cutie continues to be architects of emotion within the music the band creates.
On July 31’st I, among thousands of others, got to witness the peeled-back blueprint of all of those beloved songs. The ones that built our young hearts brick by brick. Often restoring us from heartache, and sometimes swelling it. On their I Built You A Tower 2026 Tour, the band continues to bloom us within a metaphor of building something monumental out of pain, only to realize we still have to live beside it.
I spotted many fans dressed in Death Cab for Cutie merch. Some groups of friends. Some parents who have listened to the band from the beginning passed their love for the songs onto their children there to share it together. Some couples swayed, limbs tangled. I took notice of a few Postal Service shirts as well. (Death Cab For Cutie’s frontman Ben Gibbard’s band formed in 2001 with Jenny Lewis, Jimmy Tamborello.) You could tell the love for Death Cab For Cutie had been rooted within everyone who took up the warm space of the theatre.
Memory stretched into the setlist. Bathed in blue or comforting orange tones, the night eased into memory of the past, and memory was being created for future remembrance. “Riptides” automatically placed the audience into a restless emotional world. As Gibbard rocked side to side with his guitar, listening to the song felt like being anchored when everything else around you was moving. The spark in the dark was definitely “Roman Candles.” A bittersweet feeling of reinvention. The haunting transition was during “Black Sun.” The heaviest form of absence is realizing a person or moment can disappear while the world keeps spinning. The song translates to just that, and you could feel the meaning of each lyric pulse into the crowd.
The centerpiece of their new album arrived. Performing “I Built You A Tower,” felt easily like a culmination of everything they’ve ever put out into the world. It put a light on the monumental moments created out of love, heartbreak, and memory. Drummer Jason McGerr executed quiet restraint until the explosion of an emotional peak was met. Which is exactly how I feel about the band and what they have illuminated for me as a listener in my life. The song also speaks in volumes of building towers to honor what we lost, but eventually deciding whether we want to keep living inside them. If one moment from the night could be bold, and highlighted, it would come as no surprise that it would be around the performance of “I Will Follow You Into The Dark.” Gibbard was the only producer of noise. The strumming of guitar strings was already swelling emotions. The audience sang quietly along to the song that asks the hardest, yet simple question: Who stays when everything else falls away? It’s heavy. It’s beloved. The song resonates in so many people’s lives, and it was an easy giveaway when Gibbard silenced his voice to let the audience carry the chorus beautifully.
Expanding the enclosed emotional space came with “I Will Possess Your Heart.” In red hues, with a fuzzy distorted vibrant backdrop, the instrumental opening relaxed muscles that tightened from the previous sulk. Bassist Nick Harmer provided the steady heartbeat beneath the song. Guitarist Dave Depper added to that lively texture. The slow burn of the song poured vividly. A lot of thanks is owed to keyboardist Zac Rae. The quiet tension, and expansive sound within the song comes more, and more to life with the keys. It’s the vibrant glow of the song. The band didn’t go without an abundance of gratitude to the unconditional love outpoured by fans.
“Cath…” was dedicated to the opening band, Nation of Language. An indie pop band from New York who reminded me of New Order, and The Smiths. Flawed people trying to navigate complicated emotions struck within “Crooked Teeth.” One of my personal favorites from the band's album Plans. Another one of my favorites, “Soul Meets Body” swept the loyal crowd. The song offered a lighter tone than the middle of the set.
The final statement was “Transatlanticism.” A gift to devoted fans. After spending the entire night moving through heartbreak, memory, aging, and acceptance, the final message is the same one Death Cab For Cutie has carried since the beginning: people are separated by impossible distances, but we spend our lives trying to cross them. The band has spent decades writing about endings. Yet their music has always been consistently about the fragile, stubborn hope that something- or a person, a memory, a song can still bring us home. For the night, it did, and their music will continue to do so.
KEEP UP WITH DEATH CAB FOR CUTIE ON THEIR INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE THEM HERE
Dermot Kennedy Brings Heart and Harmony to Leeds
Article written by and Photos by: Cal Williams
Article written by and Photos by: Cal Williams
Irish singer-songwriter Dermot Kennedy brought his The Weight Of The Woods tour to the First Direct Arena in Leeds on Tuesday night to celebrate the release of his new album.
The stage design perfectly reflected the album’s atmosphere, featuring grass, boulders, and concrete rock steps that made it feel as though the audience had stepped straight into the heart of a woodland landscape.
Before Dermot appeared on stage, excitement filled the arena as fans chanted his name in anticipation, with some shouting “we love you Dermot” while eagerly awaiting his arrival.
Kennedy mentioned that it had been a long time since he last played here and thanked the fans for buying tickets and coming out to the show, saying it meant a lot to him. Throughout the night, he shared several heartfelt stories and reflections that helped create a genuine connection with the audience. One of the moments came when he introduced “Lost”, explaining that it was about someone who doesn't realise just how special they are. Judging by the huge reaction from the crowd, it was clearly one of the fan favourites of the evening, receiving some of the loudest cheers of the night so far.
Before performing “After Rain”, he spoke about how he began busking and eventually made enough money to find his way into the studio to write the song. He explained that it was a song he personally needed at that point in his life. At the end, he asked the audience to sing the line “you won't go lonely” back to him, and they did not disappoint. The entire venue echoed with fans singing the words back to him in unison, creating a truly beautiful and memorable moment.
Following this, he made his way to the B-stage, accompanied by some of the members of his band. This stripped-back section of the show felt much more intimate, with him performing in the middle of the crowd. One of the highlight moments was “Let Me In”, a song about searching for true happiness. The raw emotion in his voice, combined with the crowd singing along, made for a powerful performance. This was followed by “Endless” and “The Weight of the Woods”, another highlight of the night. As a sea of lights swayed from side to side across the venue, it created such a beautiful atmosphere and a special moment to witness.
Dermot then returned to the main stage for the final four songs, which felt like the moment many fans had been eagerly waiting for. The closing run included “Turnstile”, “Better Days”, “Power Over Me” and “Funeral”. Performing some of his biggest hits he had the entire crowd dancing and singing along from start to finish.
Overall, it was a night to remember. His ability to make such a large venue feel intimate, while maintaining a genuine connection with the crowd, was incredibly impressive. If this show was anything to go by then the next tour he does is definitely one you won't want to miss.
KEEP UP WITH DERMOT KENNEDY ON HIS INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE HIM HERE
Martin Garrix Commands The Armory During Electrifying Minneapolis Run
Article written by and Photos by Ryan Huppe
Article written by and Photos by Ryan Huppe
Martin Garrix took over The Armory for two completely sold-out nights on his Americas Tour, delivering one of the most explosive electronic performances Minneapolis has seen in recent memory.
Before Garrix even stepped on stage, the atmosphere inside The Armory already felt electric. Fans packed the venue shoulder-to-shoulder as anticipation continued to build throughout the night. The second the lights finally dropped, the bass immediately rattled the floor as thousands of fans erupted while Martin Garrix appeared beneath his iconic “+” cross-stage setup, surrounded by visuals that instantly set the tone for the rest of the night.
From start to finish, the production was on another level.
The production inside The Armory was absolutely out of this world. Lasers flooded the entire venue while massive bursts of pyro erupted across the stage throughout the night, making every major drop feel even bigger. Combined with the energy of the sold-out crowd, the Armory floor was genuinely shaking for most of the night.
And somehow, the intensity never slowed down.
For over two straight hours, Garrix controlled the room effortlessly, moving through one massive track after another without ever losing momentum. The crowd stayed fully engaged the entire night, screaming every lyric, jumping through every drop, and reacting to every surprise moment as if the show had just started.
That’s what separates Martin Garrix from so many other artists in electronic music. Beyond the insane visuals and massive production, there’s still a real emotional connection throughout his sets. His music has a way of making an arena-sized show feel personal while still feeling absolutely massive at the same time.
The biggest moments of the night came when Garrix leaned into the classics that helped define an entire generation of dance music fans. The second “Animals” started building, the crowd inside The Armory completely exploded. “Tremor” turned the floor into complete chaos, while “High On Life” created one of the most emotional moments of the night as thousands of fans sang every word back to him with phones and lights filling the entire venue.
What made the set even more impressive was how balanced everything felt. Garrix blended festival anthems, emotional singalong moments, heavy drops, and newer edits together perfectly without ever letting the energy dip. Even after playing for well over two hours, the crowd still wanted more.
The Armory continues to prove why it has become one of the premier live music venues in the country, and this weekend was another perfect example of that. Between the towering stage
production, immersive lighting, and relentless crowd energy, the venue felt built for a show of this scale.
By the end of the night, sweat covered the floors, voices were completely gone, and fans still stood screaming for one more song long after the final track ended. Martin Garrix didn’t just stop in Minneapolis on tour; he completely took over the city for two nights.
If there was any question about why Martin Garrix continues to headline some of the biggest stages in the world, The Armory answered it loud and clear.
KEEP UP WITH MARTIN GARRIX ON HIS INSTAGRAM, APPLE MUSIC, AND GET TICKETS TO SEE HIM HERE
Kilby Block Party 2026 - Review
Article written by Elle Cowley and photos by Alec Moody
Article written by Elle Cowley and photos by Alec Moody
Kilby Block Party has made quite a name for itself in its 6 years of existence. Each year, the festival grows flashier, with bigger and bigger artists populating its lineup. 2026 promised to be the biggest year yet, with general admission completely sold out for Sunday. One may not immediately think of Salt Lake City as the premier festival destination for indie bands, but it’s this fest’s bread and butter. As a loyal festival-attendee since KBP moved to the fairpark in 2024, I expected a layout similar to what was cooked up in years past. However, as I walked through the front gates, one thing became immediately apparent: this year was going to be the biggest fest yet. Areas that once held vendor booths and photo ops were cleared to accommodate the highest festival attendance rate in the festival’s history. A replica of the iconic front bench of Kilby Court greeted guests before opening up to a much larger lawn space.
Friday kicked off with dancing and trampolines with Geli Haha, whose set could be heard live on local community music station KRCL. A highlight for me in the afternoon was a post-punk outfit from the UK Dry Cleaning. Favoring spoken word in lieu of sung vocals, the band brought a unique energy to the fest that you didn’t really see the rest of the day
Getting into the evening, Father John Misty drew a massive crowd to the lake stage. Seeing songs from his 2015 album, I Love You Honeybear, live can best be described as a religious experience. Hitting the Lake Stage next, Modest Mouse captured the crowd with their unusual time signatures and the unmistakable vocal talent of lead singer Issac Brock.
Picking up the pace and closing out the festival’s first day, hardcore band Turnstile delivered an insane TKTK. The entire front half of the crowd bounced and moved for the entire hour. The set was a nice mix of their newer, more traditional rock and their older, more extreme hardcore music.
Saturday afternoon kept the high energy of the previous night alive. Hyperpop artists have always been a festival highlight, with electric performances from Frost Children in 2025 and 100 Gecs in 2024. Jane Remover’s set was no different. Fresh off her critically acclaimed 2025 album REVENGESEEKERZ, the performance drew in such a huge crowd that people spilled out of the Lake stage and into the entryways. There was no downtime during the 50-minute set. Pits opened, quickly filled up, and opened again. Anyone unfortunate enough to be holding a drink had it knocked out of their hands the minute Jane came on stage.
Migrating to the Kilby Stage next offered a welcome change of pace. Sitting atop a blue velvet couch, Lucy Dacus serenaded the audience with fan favorites and her new single, Planting Tomatoes. As the sun set, indie legend Alex G brought his signature quirky performance style to the Lake Stage. Towards the end, Alex G jumped off the stage to interact with fans directly, bringing a more intimate feel to what was otherwise a massive concert. To top it all off, 2000’s Tumblr favorite The XX finished out the evening with a dreamy performance that was a perfect way to end such an intense day.
A welcome temperature drop turned to rain on the most packed day of the Festival. The completely sold-out general admission areas of the fair park swarmed with concert-goers from gates opening to evening. While plastic ponchos became more and more prevalent as the day progressed, the show must go on, rain or shine. The mountains disappeared behind the storm clouds as American Football stole the show from the Lake Stage, nestled into the rodeo area. Not only did they play Never Meant, but Haley Williams made a surprise guest appearance to perform their collaboration song, Uncomfortably Numb.
Unfortunately, the rain only intensified as the day went on and Magdelena Bay’s set started. We watched her, shivering from one of the balconies on the Rodeo Arena, trying to stay as dry as possible. Although not directly at the stage, the energy of lead vocalist Mica Tenenbaum infected us. The crowd swayed in unison as we followed Mica’s transformation from flower to demon to angel.
As the day rolled on and the rain cleared, the festival ground only got more and more packed as more people crammed in to see the main events of the day. Haley Williams returned to the stage for her first-ever solo-festival performance. Footage from SLC Punk and Bee and Puppycat played alongside songs such as “Ice in my OJ” and “Hard”. It is impossible to separate Haley’s work from politics, and she didn’t shy away from making her stances on Utah issues clear, speaking in opposition to Shark Tank star Kevin O’Leary’s controversial Data Center.
Closing out the festival was an absolute must-see set from Lorde. Part music set part performance art, even those in the way back could enjoy the beautiful shots captured by the on-stage cameras. She ended the evening with “one of the most precious songs we have”, “Ribs” and promised to be back again soon.
Sitting now post-festival, I can’t help but wonder where Kilby Block Party can possibly go from here? In only six years, the festival has grown from a small, day-long affair at its namesake venue, Kilby Court, to a nationally covered weekend-long affair covered by Soundgiest, Stereogum, and even a shoutout from Jeopardy host Ken Jennings. I would be lying if I didn’t say I will miss the days when hitting the gates before noon meant fewer crowds, and there was no worry of being stampeded waiting to use the restroom. Utah continues to become more and more culturally significant as the 2020’s roll on, and I can only see the Block Party gaining more attention as the years go by. I am excited to see what the festival has to offer in 2027.
Treefort Music Fest: Where the arts bloom within community
Article written by Kili Goodrich
Article written and photos by Kili Goodrich
Attending Treefort Music Fest 2026 was nothing short of a full‑sensory immersion. Nestled in the heart of downtown Boise, Idaho, this five‑day festival transcended the boundaries of a typical music fest. Indulging in every form of art imaginable. Each “Fort,” whether music, comedy, drag, podcasts, or live mural creation, became a small universe unto itself. Offering a deep dive into the creative heartbeat of the city. Boise, with its natural confines and crisp spring air, felt like a refreshing antidote to the relentless desert heat I call home. Every street corner, park, and venue pulsated with color, creativity, and a sense of community that seemed almost tangible. The city itself was conspiring to overload your brain with pure joy. By the end, my only downfall was that I did not have enough time to indulge.
The inaugural day of Treefort Music Fest was less about headliners and more about immersion. Downtown Boise became a canvas of spontaneous collaboration. Morning coffee circles where strangers and locals crafted together, performed impromptu poetry and storytelling in sessions within the town square. There was also yoga flowing alongside brewery dance performances. The festival’s ethos is that creativity thrives in community. That was immediately apparent. Connections were formed effortlessly, smiles were exchanged freely, and the shared refrain of “Happy Treefort!” became a ritualistic greeting among attendees. I found myself saying it to passersby just as much as I heard it. The energy of the fest was absolutely contagious. Local shops flung open their doors, welcoming artists local and from across the country. Friendships blossomed, and old friends deepened their bonds all while the city orchestrated an atmosphere of exploration and celebration.
After an invigorating start with a fizzy espresso infused with orange and yuzu at Slow By Slow, the musical festivities began. Runo Plum opened the Hideout Stage under warm sunlight. Their sound was a delicate blend of warmth and intimacy that was a personal serenade to the crowd. Later, Maci Mattravers lit up the Mainstage with a full band featuring clarinet and trumpet. This was a refreshing burst of energy.
Blondshell, an alternative powerhouse, captured the sun at its peak. Igniting the audience with raw energy, the crowd enthusiastically shouted lyrics back “LIKE SEPSIS!” The British folk‑infused melodies of Divorce offered a gentler, reflective counterpoint at the Hideout Stage. Samia drew fans in with an intimate yet commanding set. She performed heartfelt tracks like “Big Wheel,” “Honey,” and “Pools.” The Beaches brought unstoppable Canadian rock energy, keeping every foot in motion. Citizen stirred the crowd further, while Flipturn closed the night with breathtaking intensity. Especially on tracks like “Whales” and “Rodeo Clown.” An indelible mark was left on fans who even dressed to honor the performance in cowboy hats and clown makeup. Shoutout to Harlan, who I had the pleasure of meeting. Harlan, a longtime fan, had camped out all day at the barricade for Flipturn.
The festival’s expansiveness allowed me to venture into intimate local venues. I discovered Walter Mitty and His Makeshift Orchestra at The Shredder, where a whimsical Winnie the Pooh toy unexpectedly punctuated their set. Instant Crush magnetic energy swept the room after. Soft Blue Shimmer performed in the cozy, warmly lit basement of The Shrine. The local venue offered another aesthetic highlight of hazy red booths, vintage vanities, and a warm stage presence that perfectly complemented their performance. The night culminated with Angel Du$st in an old-school theater hall above. The crowd danced, cheered, and even crowd-surfed in a euphoric display of community energy.
Another early coffee run led me past The Retrograde at the Cyclops Stage the next morning. Afterwards, I made my way to Not Your Ex Lover on the Hideout Stage and Catie Turner opening the Mainstage. Turner’s set was full of punchy, heartfelt pop aesthetics. I even had the chance to capture portraits of her afterward. She instantly felt like a one-of-a-kind artist whose ascent felt inevitable and well-earned. The kindness humbly lifted from her aura organically.
Hemlocke Springs, with backup dancers and a kinetic stage presence, had the crowd moving nonstop. Knuckle Puck’s was nothing but high-octane pop-punk. Yet it was Inji who truly seized the day. With the infectious energy of her set left no attendee still. The set was also complete with flying beach balls and glittery euphoria.
As night fell, Magdalena Bay stole the evening. With fans adorning baby-blue eyelines and Imaginal Disk costumes celebrating the duo’s signature aesthetic. Duckwrth ignited the Treefort Music Hall under glittering disco balls. The night ended in jaw-dropping fashion with Cobrah. A Swedish dynamo whose performance left the venue buzzing until the early hours. She truly stole my breath, and I haven’t got it back since.
The next day began with Samantha Henson at the Cyclops Stage, before, yes, my daily coffee routine. Shortly after, I moved into FIGHTMASTER’s highly anticipated set at Julia Davis Park. They delivered my favorite tracks like “Cowboy Tumbleweed” and the blazing “Bad Man.” In between songs, they gave the hot air humor. I was lucky enough to catch a moment with E.R Flightmaster after their set. The most kind hearted and giving human who not only gave me their attention, but also the long line of fans. Maddie Zahm’s Mainstage set was a gentle contrast to the sister duo Girl Tones, who demanded full presence from the crowd with their fiery insistence on participation. It wasn’t ego; it was purely for the crowd to be fully present and enjoy the atmosphere.
Other highlights included Billie Marten, whose soothing melodies were found perfectly under the tree-shaded festival grounds. Chanpan gave a rhythmic punch that captivated the audience. Mother Mother brought effortless charisma and energy. Later on I witnessed a magnetic performance by Big Sis. Then a youthful exuberance from Gelli Haha that reminded all that whimsy has no expiration. The evening crescendoed with Haute & Freddy. They delivered a blend of 80s theatrics and what reminded me of a playful dip into Rocky Horror Picture Show liberation and joy.
Though travel cut my final day short, I relished the Local Market. A treasure trove of artisan crafts. Afterwards, I visited Lenses and Brushes, where founder Heidi Cabrera offered a tour of her darkroom and the gift of disposable cameras hidden around Boise for lucky festival-goers. Before departing, I caught Wallice and Vika and the Velvets. Both left an impressionable mark as the festival wound down for myself.
Sleeping only a few hours each night was inconsequential. Treefort Music Fest 2026 is of the mind, and the heart. A sprawling, electrifying, and deeply human celebration of artistry. Over 500 artists performed across the city. With that large of a lineup offering it still found a way to be profoundly connective. My first Treefort Music Fest may be over, but its impact definitely lingers. I cannot wait to return!
A Night of Nostalgia: Boys Like Girls Take Over Salt Lake City
Article written by and Photos by Morgan Newbold
Article written by and Photos by Morgan Newbold
Fans flooded the Union Event Center for the sold-out Boys Like Girls show! It was the “Soundtrack of Your Life Tour”, and the band was set to play the entirety of their 2009 album “Love Drunk” and 2006’s “Boys Like Girls” album, which made for quite a stacked setlist. Fans honed in on the nostalgia, dressed in their 2000’s attire or wearing BLG merch. I saw some people come dressed in the opener’s merch, as well! The show was opened by Salt Lake City’s own I Don’t Know How, But They Found Me, and pop-rock band Arrows in Action. So basically, we were fed with dozens of pop-rock hits for 3 hours. Can’t get much better than that!
Boys Like Girls is a Rock group from Massachusetts that joined together in 2005! They found a lot of success with their self-titled debut album and their follow-up, Love Drunk! They went on to do world tours and received widespread recognition from the likes of MTV and Billboard. They’ve been a Pop-Rock staple for 20 years! At its start, the band consisted of frontman Martin Johnson, bassist Bryan Donahue, guitarist Paul DiGiovanni, and drummer John Keefe! Bryan departed in 2011 and was replaced by Morgan Dorr. Their third album was released in 2012, and they continued to tour the world, headlining and supporting artists like The Maine, All-American Rejects, and The Jonas Brothers! In the making of their fourth album, their guitarist and bassist were replaced by Jamel Hawke and Gregory James. They’re still going strong, doing anniversary tours for each of their albums as the years go by!
The show opened with Arrows in Action, a newer rock group from Nashville that formed at the University of Florida in 2017! They had a pristine sound and great energy. They effortlessly hyped up the crowd with their pop-punk bangers!
Find Arrows in Action at their individual links here: Apple Music and Instagram
Next up was I Don’t Know How, But They Found Me! I personally love watching this band; they have great on-stage chemistry and have so many high-energy songs that the crowd loved. Much of the audience was already fans of this group, and were dancing and singing their hits like “Choke”, “Downside”, and “Do It All The Time”. Dallon is especially skilled at interacting with a crowd and hyping them up, as well! And Isaac Paul is, in my opinion, one of the best guitarists in Utah. They ripped and put on a wonderful performance!
Find I Don’t Know How, But They Found Me at their individual links here: Apple Music and Instagram
Very soon after IDKHOW, Boys Like Girls made their way onto the stage; they had an early set and a lot of songs to play! The crowd was ecstatic, while haze and flashing lights filled the dim room. This band always has such an iconic look, dressed in full leather and sunglasses; the vibes never miss with them. They opened the show with “Heart Heart Heartbreak” from the album “Love Drunk” and played it all the way through, and finished with “Go”. A lot of those songs hadn’t been played in over 10 years, and they played “Real Thing” for the first time! The crowd was jumping and singing along so loudly! Everyone on the balcony and by the bar was fully immersed in this performance. Then, they opened the self-titled album with one of their biggest hits, “The Great Escape” This one was clearly the fan favorite and people around the room were fully encapsulated by the nostalgia.
They played through the album, which just turned 20 years old. Fan favorites like “Thunder” and “Hero/Heroine” had the crowd belting and in their feels. For many, these songs shaped their adolescence and soundtracked their life. I could feel the energy and passion echoing in the big room. Finishing off with “Holiday” from the “Girls Like Boys” album, the band threw their hands up to the crowd, and they went wild, not wanting the show to end. The group came back on, of course, to play their greatest hits one more time, “The Great Escape” and “Love Drunk”. It was quite a memorable night for everyone in attendance and definitely not one to miss out on.
Find BOYS LIKE GIRLS at their individual links here: Apple Music and Instagram
YOU CAN SEE BOYS LIKE GIRLS AS THEY SET OUT ON THE REST OF THEIR US TOUR THIS SPRING WITH IDKHOW AND ARROWS IN ACTION, TIX AVAILABLE HERE
Joey Valence & Brae Keep the Party Going in Los Angeles
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
After a hugely successful run last year, hip-hop duo Joey Valence & Brae brought their HYPERYOUTH Tour back for a victory lap. The sold-out show in September at The Observatory in Santa Ana got upgraded to two consecutive nights at the Bellwether in Los Angeles. A Monster Energy Outbreak Presents tour, they were joined by rapper Sha Crow on March 6th. Joey Valence & Brae, often shortened to JVB, consists of rappers and best friends Joseph Bertolino and Braeden Lugue. With Joey producing all of their tracks, they garnered viral attention on social media, most notably with “PUNK TACTICS,” released in 2022. Now, they are fresh off the release of an extended version of last year’s album. “HYPERYOUTH (afterparty)” gives them even more new songs to play on tour. The influence of classic hip-hop, Beastie Boys, Daft Punk, and nostalgic club and dance music is evident in their work, alongside their love for video games, anime, and pop culture. The pair’s music can be described as anything from rap-rock to dance-pop, but it’s always a good time to see JVB.
To kick off the show, rapper Sha Crow burst onto the stage like a ball of energy, bouncing around from side to side. While laughing, he revealed to the audience that this was his first show ever. He had some of the most infectious energy I’ve ever seen from an opening act, and it was clear from the beginning he was having the time of his life. The crowd easily got on his wave, bouncing with him and giving him all their attention. His extremely high jumps and animated attitude kept everyone engaged and involved. During one of his songs, he jumped into the crowd to surf (after being egged on by everyone in front), only to get back on stage and do it all over again. He took a second to mention how grateful he is that he followed JVB, and the next day got a message asking if he would open for them. He thanked his grandmother, saying she is the only reason for him being here, and finished his set. With only 30 minutes, Sha Crow made the entire venue into fans. I can’t imagine a better outcome for someone’s first ever show.
Find Sha Crow at his individual links here: Apple Music and Instagram
Joey Valence & Brae’s DJ came on stage to warm everyone up with a quick set of club classics. DJ Ewook got everyone moving to Lady Gaga, DJ Khaled, Limp Bizkit, and more before transitioning into JVB’s first song. The crowd went wild as soon as Joey and Brae finally hit the stage, starting off strong with four songs in a row from “HYPERYOUTH,” everyone shouting the lyrics back at them. The duo kept the crowd going with their dance moves and frequently thanked everyone for coming to the show and supporting, which means the world to them.
They reminded everyone to dance, their number one rule at a JVB show, as well as make a new friend. They went on to play banger after banger, from “LIKE A PUNK” to “OK,” to surprise guest JPEGMAFIA coming out for their collaboration “WASSUP” with his crew in tow. The crowd got crazier the longer the show went on, culminating in an uncontrollable sea of people during “PUNK TACTICS,” an explosive finish to their set before the encore. They came back on stage to perform “THE BADDEST,” one of the most fun songs you’ll ever hear in a club. The disco ball was shining, and everyone was dancing, moshing, or crowd surfing like there was no tomorrow. They closed the show with “DISCO TOMORROW,” a perfect conclusion for the album and the night. You may not be able to stay young forever, but JVB will have you dancing like you are.
“Growin' up, I never thought I'd make a mark / Then I met Joey, and I finally found my spark / Be true to you 'cause you're the only one that knows you best / I'm happy to be here, thank you all, I'm truly blessed.”
Find Joey Valence & Brae at their individual links here: Apple Music and Instagram.
KEEP UP WITH JOEY VALENCE & BRAE ON THEIR INSTAGRAM AND APPLE MUSIC AND GET TICKETS TO SEE THEM HERE
Del Water Gap: Chasing The Chimera Tour
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
The Chimera is a formidable female monster known in Greek Mythology. She’s often depicted as fire-breathing with a lion’s head, a goat’s body with a head on its back. Also with a serpent tail. This beautiful, fearsome creature represents impossible illusions and chaos. The Chimera is symbolic of destruction. The relevance is paired with Del Water Gap’s third album titled Chasing the Chimera. While I don’t believe the singer has the looks of the Chimera, I do believe that the album is in resonance with the symbolism of pursuing something that is impossible. To reach for perfection that is simply not tangible. Ever.
Chasing the Chimera World Tour made a stop at The Van Buren in Phoenix, Arizona on February twenty-first. While a chimera may feel forever out of reach, Del Water Gap made every feeling feel heightened and, in fact, tangible. For a moment, fans could grip the railing of the barricade, jump on the ground that vibrated with each melody, and swallow every breath that was utterly needed from screaming lyrics. Between fan and the artists, this show was particularly unforgettable.
Smoke clouded the stage. Like the mythical creature, an illusion was created. The stage was draped in white curtains and swallowed in leaking fog. One couldn’t guess what would emerge, but only hoped for the messy, romantic artist Del Water Gap. Fans clung to the hope of the artist who often sings of destructive narratives to break that very illusion—and he did. Stage name, Del Water Gap, behind the charcoal-like black mask that was smeared across his eyes, is S. Holden Jaffe. He appeared like a beacon through shining light breaking into the first song of the night, “Small Town Joan of Arc.”
“Sorry I am,” and “Better Than I Know Myself” were quick after. From being inside the photo pit, I knew the energy was going to be a test of the venue’s structure. Hands were raised high in the air, feet jumped off the ground, and fans sang along to every lyric. This wasn’t my first time witnessing a Del Water Gap concert. I’ve been lucky enough to be a part of the Guppy fan club for years, but it never fails to amaze me how utterly breathtaking a performer Jaffe is. The full venue was decorated with fans with the Horse with a Bowl Cut stapled to clothing or drawn on signs. There was so much celebration shown in outfits that proved how much of a community was brought together by this incredible artist.
At one point in the show, Jaffe asked a fan at the barricade to hold a clicker. Giving them the responsibility and fun to be in control of the lights for the song “NFU.” With light-hearted humor and adoration for his supporters, “Don’t mess it up,” was playfully spoken to the fan. The lighting? Oh, they absolutely crushed it! Following was “Marigolds,” the lighting shifted to the matching warm, deep golden scheme. “Beach House” was a punch to lift the energy again. “High Tops,” is a song fans from day one hold close to their hearts. I used to see you on the sidewalk, standing in your high tops ruining your pretty lungs with your cigarette smoke. It ain't keeping you young. Ringing an ode to a faded, messy, but memorable relationship. “Glitter & Honey” is from Del Water Gap’s 2023 album, I Miss You Already + I Haven’t Left Yet. Much like all of his music, it is absolutely golden. The song drips like honey and feels darkly sensual like wispy curls of smoke.
“Damn” was a highlighted moment. As Jaffe rolled out an embroidery machine during, and tossed his artwork to a lucky fan afterward. During the last half of “Perfume,” the artist joined fans in the crowd. The energy was completely swallowed, just to explode with the tight community of fans that celebrated harder than any other point of the night. The artist closed the night with “Ode to a Conversation Stuck in Your Throat.”
The concert was rejuvenating. A moment of soul cleansing. A break from outside life in the world, and a moment to just simply celebrate. It was bittersweet to close the night, but everyone left with more love bursting from their aura. Del Water Gap continues to out shine all expectations. From draped projections, joyous performances, the artist’s work is a constant gift, and we can’t wait to experience more of Del Water Gap in the future!
KEEP UP WITH DEL WATER GAP ON THEIR INSTAGRAM AND APPLE MUSIC AND GET TICKETS TO SEE THEM ON THEIR CHASING THE CHIMERA TOUR HERE.
The Runarounds at Old National Centre, Indianapolis, Indiana
Article written by and photos by Abigail Scoggin
Article written by and photos by Abigail Scoggin
On Wednesday night, The Runarounds brought their explosive energy of their on-screen performances to life, proving why they have quickly become one of the biggest rising alt-pop bands. Formed in 2021, the five-piece band turned a casting call into a full-fledged music career, now touring nationwide following the release of their latest single, “Chasing the Good Times,” and their self-titled debut album from the series.
From the second the band stepped out onto the stage, the venue erupted with nonstop screams, making it immediately clear just how deeply loved they are by their fans. While the crowd’s enthusiasm was undeniable, the band quickly proved they are far more than a viral sensation. I especially loved how vibrant the lighting was, as the bold colors flooded the stage and elevated the energy of the performance.
Much of the setlist was pulled from their newest album, allowing fans to fully immerse themselves in the band’s newest era and I was most excited to hear one of their unreleased songs, “Bleachers.” Each member had a moment to shine, showcasing their individual talent, and for those at the barricade, the night peaked when Axel Ellis and William Lipton jumped into the crowd, bringing the performance directly to the fans and creating one of the most memorable moments of the show.
By the time the set was over, it was clear that The Runarounds have to return to Indianapolis on future tours. Their genuine connection with the fans is something that’s rare to come across and they proved they are more than ready and eager to be in the spotlight! If this show was any indication of what’s ahead, The Runarounds are only just getting started, with even more tour dates to come.
YOU CAN FIND MORE INFORMATION ON THEIR WEBSITE, HERE, AND FIND THEIR MUSIC ON ALL STREAMING SERVICES!
Nothing More Brings Carnal Nature World Tour to Los Angeles
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On January 27th, San Antonio rock band Nothing More came to the Belasco Theatre in Los Angeles for the Carnal Nature World Tour. They were joined by Catch Your Breath, ARCHERS, and Doobie. Nothing More’s seventh studio album “CARNAL” was released in 2024. Soon after that, the band supported Disturbed’s 25th anniversary tour for “The Sickness,” which continued to grow their dedicated fanbase. They announced their own world tour beginning with a string of UK/EU festivals and headlining dates before coming back to the States for the new year. As someone born and raised in San Antonio, I was excited to see Nothing More for a second time, as I had only previously seen a short (but exhilarating) set at Aftershock Festival.
Starting the night off was rapper-turned-rocker Doobie, who has been around in the hip-hop scene since 2016, but only recently has fully embraced his rock and roll influences that have always shown in his music with his first full-length rock album. “Give ‘Em Hell Until You Get to Heaven,” released in 2025, features an earnest cover of Danzig’s “Mother” as well as collaborations with Nothing More frontman Johnny Hawkins, Saliva’s Josey Scott, and Yelawolf. On stage, Doobie thanks everyone for coming early, talks about how much he’s always loved rock music, and introduces his band before launching into the Danzig cover with the crowd singing along. Even though it was early and the first set of the night, Doobie got everyone grooving with him.
Find Doobie at his individual links here: Apple Music and Instagram
Next up was Archers, the latest Fearless Records signees from Wisconsin. The metal quartet was still buzzing from their signing while playing their label debut, “The Dirt” for the growing crowd. Since 2015, the band has been steadily building momentum, and they are definitely one to watch this year. The crowd loved their fun and energetic blend of metalcore and pop-rock elements. Highlights of their set included “Bitter” and “Perfect Strangers.” During the latter, as a surprise to fans, they brought out their former bassist and vocalist Oscar Porter (IAmArankai), to sing with frontman Nathanael Pulley to complete their set.
Find ARCHERS at their individual links here: Apple Music and Instagram
Austin, Texas-based hard rock band Catch Your Breath followed. Thanks to the metalcore and synth elements experimented with in their music, coupled with social media virality, they’ve joined the new generation of rising rock bands in the scene. With two new singles released recently, the band is gearing up for a new era. Vocalist Josh Mowery, guitarist Teddy Herrera, bassist Cianan Madigan, and drummer Onell Hernandez captivated the crowd with their energy, proving Catch Your Breath’s staying power. The heavy-hitting and emotional “21 Gun Salute” was one of the most memorable songs of the set, as well as “Dial Tone” and “Shame On Me,” which the audience sang along with.
Find Catch Your Breath at their individual links here: Apple Music and Instagram
Finally, it was time for Nothing More to take the stage. The band consists of vocalist Jonny Hawkins, guitarist Mark Vollelunga, bassist Daniel Oliver, and drummer Ben Anderson. Formed by Hawkins and Vollelunga in 2003, the band struggled to find their sound and any record label interest due in part to a revolving door of lineup changes. After eight years as their drummer, Hawkins decided he would become the band’s frontman instead, and the rest is history. They finally broke into the mainstream with their self-titled fourth album and subsequent record deal in 2014. Since then, they have toured with the likes of Chevelle, Five Finger Death Punch, Shinedown, Papa Roach, and have been nominated for three Grammy Awards. On stage, the production was bright and colorfully lit, with the drum kit set up on a large platform in the middle for all to see Anderson, instead of hiding him in a dark corner because this band really loves drummers.
They ignited the room right off the bat with “HOUSE ON SAND” and “ANGEL SONG” from “CARNAL,” an electrifying start to their set. Hawkins took a moment to apologize to the audience if he doesn't seem like he’s at 100% from getting food poisoning only a few hours prior to the show. Other than an occasional wince and the couple of songs they cut from the setlist, you’d never know that he was suffering by the way he performed and gave his all. “Jenny,” their most loved and personal song, saw a surge in crowd surfers, with everyone screaming their lungs out with fervor. The vibe shifted as “STUCK” began with the biggest and rowdiest mosh pit of the night, then back into melancholy with “Fade In / Fade Out.” The band closed the show with “This Is The Time (Ballast),” although there were some mic issues for Hawkins at the end, they finished strong, and the crowd was spent. If anyone says rock is dead, just point them to NOTHING MORE.
KEEP UP WITH NOTHING MORE ON THEIR INSTAGRAM AND APPLE MUSIC AND GET TICKETS TO SEE THEM HERE.
A One-Night Homecoming: The Brobecks Celebrate Happiest Nuclear Winter’s 20th Anniversary in Salt Lake City
Article written by and photos by Morgan Newbold
Article written by and photos by Morgan Newbold
On Saturday night, fans spanning 4 generations piled in together to see The Brobecks celebrate the 20th anniversary of’ Happiest Nuclear Winter’, with a one-off show in the heart of their hometown, Salt Lake City! Fans of both The Brobecks, who may have seen them play at beloved venues like Kilby Court and The Velour in the early 2000s, and IDKHOW, Dallon’s current band, all came to experience an exciting night of nostalgia and good music! I saw a few familiar faces, and saw that a large portion of the crowd had flown or driven in to see this monumental reunion. This show was special as the 4 original members were brought together. Earlier this year at Kilby Block Party, there was a brief Brobecks reunion for one song when IDKHOW played that weekend! However, they haven’t played all together as a band since 2013!
Opening for the show was Salt Lake’s favorites, future.exboyfriend! They put on a stellar performance, as expected, playing the hits and some new tracks as well, which I was stoked to hear! I danced and sang along, enjoying every minute. I adore this group and have seen them play many times and grow over the last few years. I saw other local artists that I love come to hang and show support for them! Issac Paul, of future.exboyfriend, is also the newest guitarist of IDKHOW, so naturally, the two bands now have a lot of mutual fans, and many of them stayed around to chat with FXB! I’m hoping there could be a collaboration in the future! I met up with some friends who were also photographing the show, and we chatted about how excited we were to finally see and hear The Brobecks play!
When Dallon Weekes and The Brobecks walked on stage, the room erupted in cheers. The band waved to the audience and started warming up their instruments. Excitement was a thick, tangible energy in that small room as the first chord of “C’mon Vietnam” rang out. The crowd danced and jumped around as they played through “Happiest Nuclear Winter” from start to finish. It was great to hear favorites like Better Than Me, Everyone’s a Jerk, and the original version “Boring!” The lights were sparkling, and the atmosphere was magical. As the album came to a close, fans kept cheering and jumping, hoping they would play more.
The band couldn’t help but oblige; they were having too much fun! In addition to the full record, they also played “Bike Ride”, “Sleeping Pills”, and in the encore, “Love at First Sight” and “Goodnight Socialite”. I was especially shocked and happy that they played the last one! It was so cute to see that the entire crowd knew to shake their hands in the air for the swelling buildup of the intro, just as fans did 15+ years ago. Phenomenal performance with insane vocals and energy from all 4 of them! All in all, I was thrilled to be able to experience this reunion show! It was clearly very special and likely not to happen again anytime soon, so I’m grateful!
Grayscale Holiday Show Review
Article written by and photos by Vanessa Holt
Article written by and photos by Vanessa Holt
Local Philadelphia band Grayscale brought back their holiday shows this year, only this time they were a little bit more special. This year, the band was celebrating its 10th anniversary. Rather than just having one special night, the band had put together a whole weekend of special events for fans. They kicked it all off by performing at Johnny Brenda’s and played songs from What We’re Missing and covers. Many of the songs played there were performed for the first time ever, or hadn’t been played since 2016.
The last two shows were played at Theatre of Living Arts, the first night on December 5th, they had played fan favorites from their third and fourth studio albums: Nella Vita & Umbra. They played some of the greatest hits, such as: Dirty Bombs, Motown, In Violet, and Painkiller Weather.
From the minute the band took the stage, the energy in the room was incredible, crowdsurfers were nonstop during the show, and each person who went over the barricade was screaming the lyrics at the top of their lungs. On the second night, December 6th, they played fan favorites from their second studio album, Adornment, and their latest album, released earlier this year, The Hart.
They still kept the classics, such as In Violet and Painkiller Weather, but included a wide variety from both albums. Night two had the privilege of witnessing two special guests take the stage, the first guest was former Grayscale bassist, Nicholas Ventimiglia, who came out and played the guitar during one of the band’s consistently top-streamed song, Forever Yours.
The second special guest was Dan from The Wonder Years, who helped close out the night to Not Afraid To Die.
This weekend was probably one of the best weekends that Grayscale has done to date for fans. It catered to all ranges of fans, from the day ones to the OG Warped Tour fans to the newest ones they’ve gained after a successful year as support acts on some incredible tours. Special curated setlists played a big part but they included small touches such as bringing back out older backdrops from previous tours and including special limited tees for each night they had performed. December is a special time in Philadelphia because of the holidays, but for Grayscale fans, it’s even more special with these holiday shows that have been recurring events, and everyone leaves the venue with fun, special memories.
King Princess Brings the “Girl Violence” Tour Home With a Fierce Final Night
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
Walking into the Wiltern on the final night of King Princess’ Girl Violence US Tour felt like stepping into the end of a storm. There was electricity in the air. Even though the sun had set, the night was already feeling restless. As a photojournalist, I’m used to documenting concerts from behind the lens. King Princess left me, a once disciplined observer, transformed into buzzed chaos. It was easy to fall into place of the dancing ecstatic fans. King Princess performed like a siren. Absolutely magnetic, mischievous, and entirely in command. Every jump, every riff, every moment she sprawled across the stage felt like she was pulling the strings of an entire room. I feel like it's safe to speak for everyone and say we were hopelessly entranced.
The night opened with ‘Cherry,’ and I realized immediately just how deep the mythology of this era runs. Fans dotted the crowd in cherry-shaped hats showing allegiance to the singer's fictional villain. Cherry, the toxic antagonist of the Girl Violence universe, loomed large in the visuals and storytelling. As she sang, King Princess leaned into the chaos of yearning for someone destructive. Her voice twisted around the song’s tension. Dangerous, and deliciously self-aware. ‘Jamie’ arrived on the back of deafening roars. The cheers were so loud. King Princess, real name Mikaela Straus, was forced to pause. The force of gratitude made her lean back with a wide smile. I witnessed her soak in the love like it was going to be the fuel to power the night.
'The Bend,’ shifted into smooth vocals with little cracks of vulnerability piercing through. The lighting was swallowed by saturation. My camera couldn’t help but follow the small emotional cues of her jaw clenching. Along with her eyes searching, and guitar hanging lower as she leaned into the ache. I took notice of the pink guitar strap that danced her stage name in thin lettering. ‘Girls’ swung the energy with a punch of queer ache and chaos. The room tightened. Staus strutted with a worn smirk, knowing that the lyrics she sang matched with how the crowd was feeling. “Girls bring me to my knees.” Her voice slid across the song’s edges.
When that opening beat hit of ‘Pussy Is God,’ the crowd lost it. The air went feral. Phones shot up and bodies pushed forward. ‘Cheap Queen’ floated on that buzzing energy. Before ‘Prophet,’ Straus rolled a giant orange dice. The action came with announcing that fate would choose the next song. When it landed on “Everyone in the band takes a shot,” the band looked ready to commit. Instead King Princess grinned and said, “The thing about it being my show is that I can do anything I want. We’re doing ‘Prophet.’” The reaction was explosive with love for the older song. The message was clear: it’s King Princess’ world, and we’re all delightfully at her mercy.
The title track of the era hit. ‘Girl Violence’ was boldly theatrical. During ‘PAIN,’ the Wiltern floor literally shook. At this time, I’d been up in the mezzanine, feeling the structure of the building quake. Every foot jumped. Every hand was thrown up. All collective catharsis vibrated under the soles of my shoes. ‘Cry, Cry, Cry,’ allowed her voice to wrap around the melody like a bruise blooming. High energy returned fast with ‘Hit the Back.’ What begins as a calm scene of the piano quickly explodes like a match to gasoline. Bodies were bouncing, screaming, sweating all over again.
Before ‘Talia,’ Straus sat on the steps and looked out over the crowd. Wearing a soft smile, she took a moment to thank everyone who had been with her since the beginning. You could feel the long-time fans raise their arms a little higher. A unique tradition of this tour is that a fan gets chosen to tag the massive billboard-like ‘Cherry’ backdrop with the city name. “LA” was sprayed in thick, sweating letters. After the fan tagged, King Princess grabbed the can herself and added “Girl Violence” across the art. An artistic close to this chapter of tour.
Fans were eager for an encore. Everyone stayed put selfishly wanting the night to never end. When King Princess returned to the stage ‘1950,’ of course, was performed. Her very first song. Written while she was still at UCLA. Tucked into a dorm unaware of the career that was about to beautifully bloom. Being sung in Los Angeles on the final night of the tour had weight to it. Nostalgia mixed with pride. Then came the beautiful chaos. ‘Ohio’ exploded with that unhinged rock-show intensity. By the final chords, she was destroying the drum set. Full annihilation mode. It was the perfect ending. All wild and unapologetic. Something completely her own.
Leaving the Wiltern my camera was full. Yet it didn’t feel like the real proof of what happened. King Princess performed like a force of nature. A siren singing her song. Compelling in tender, and vibrant performances. Everyone walked out with a vibrant crimson aura. The final night of the Girl Violence Tour was the cinematic closing chapter of an era she built from the ground up. All of us were lucky enough to witness the riot. We all walked out with a uniformed thought of an eagerness to witness King Princess again.
The Band CAMINO at KEMBA Live!, Columbus, OH
Article written by and photos by Abigail Scoggin
Article written by and photos by Abigail Scoggin
Memphis-native pop-rock band The Band CAMINO has always tugged on my heartstrings. I discovered their music back in 2018 while I was still in high school in Memphis, and it immediately stuck with me. Knowing they were a local band made every song feel more meaningful, like it came from somewhere familiar. Now, in 2025, nearly a decade into their journey as a band, I got to catch them live again.
The Band CAMINO was preceded by sets from Ethan Tasch and Almost Monday, each bringing their own unique indie sound. Ethan Tasch’s set felt chill and smooth, while Almost Monday took over with nonstop movement and an almost chaotic, high-energy stage presence.
The entire night, it was clear that this tour was highly anticipated by the fans in the crowd. From personalized hats and signs to fan projects, the crowd showed up with a level of love and intention that felt impossible to ignore. There were many CAMINO classics like “Hush Hush,” “Heaven,” and my personal favorite, “Berenstein.”
Alongside those fan-favorites, the band leaned into the theme of their NeverAlways Tour, based on their most recent album release, NeverAlways. The new record’s sound translated effortlessly to the stage, and I was left wanting to hear more of their songs from the album. They made this tour feel especially memorable with a full-crowd sing-along to “12:34” and a stunning performance of their unreleased song, “Afterthought.” The Band CAMINO never fails to build these kinds of special moments into each of their tours, and I was especially excited to see what they’d bring to this one.
Overall, I’m stoked that I was able to catch them in concert a couple of times on this tour. They’re closing out the U.S. leg of the NeverAlways Tour at the Grand Ole Opry House in Nashville, TN, this Friday, with even more dates lined up across Europe, the UK, New Zealand, and Australia. You can find tickets here. Their unreleased song, “Afterthought,” will also be available on all streaming platforms on December 3rd. The NeverAlways Tour is a tour that captures everything fans love about The Band CAMINO, and I can’t wait to see where their music takes them next.
A ROLE MODEL PERFECT FOR LEEDS
Article written and photos by Cal Williams
Article written Cal Williams
Role Model made a return to the UK, bringing his No Place Like Tour (The Longest Goodbye) to a packed O2 Academy in Leeds on Saturday night. After touring Europe last year, he told the crowd he had to come back, especially after releasing the deluxe version of his album, which included four new songs. “I couldn’t not play them for you guys,” he said. The night kicked off with “Writings on the Wall,” immediately setting the tone for what would be an exciting show. From the first note, the audience’s energy was through the roof — fans sang so loudly it was sometimes hard to hear Role Model himself. The love for him in that room was undeniable.
At one point, a fan handed him a cowboy hat, and the entire room started chanting for him to put it on. He laughed, played along, and it turned into this lighthearted moment that showed how relaxed and playful he is with his fans.
Later, he surprised everyone with a cover of The 1975’s “Somebody Else,” a perfect fit for his style and a clear hit with the audience, who sang every word back to him.
A standout moment of the night for me came courtesy of an unexpected detail bubble. A fan had been blowing them throughout the show; it was such a small thing, but it somehow added a dreamy, almost cinematic feeling to the show. Watching the bubbles drift across the stage lights while he sang felt kind of magical, a perfect reflection of how his music makes people feel.
While the setlist leaned heavily on songs from the new album, he still treated long-time fans to an older favourite, “Blind” from his Our Little Angel EP.
As the night drew to a close, you could feel the anticipation in the air for “Sally, When the Wine Runs Out.” When he finally started playing it, the reaction was immediate, the loudest cheers of the night, hands in the air, and every lyric shouted word for word. In one of the most memorable moments, he pulled a fan on stage to be “Sally” and the two of them danced and sang as the crowd went wild. It was one of those moments that perfectly captured what a Role Model show is all about: connection, fun, and pure joy.
Overall, the whole night was filled with singing, dancing, good vibes, and so much happiness. You could really feel the connection between Role Model and the crowd, like he wasn’t just performing to us, but with us. It’s easy to see why so many people call him one of their favourite artists right now. Leeds definitely showed up for him, and he gave us a night we won’t forget.
Dreamy Draw 2025: A Weekend of Heat, Heart, and Headliners
Article written by Kili Goodrich
Article written and photos by Kili Goodrich
From the bustling streets of Scottsdale, festival-goers stepped through the gates of the Dreamy Draw Festival. Lovers of music found themselves transported into a universe blooming with green lawns and twinkle-lit pathways. The Scottsdale Civic Center transformed into a desert dreamland. Think wild west and bohemian wonder. A place where music and friendship grew freely under the Arizona sun.
Every corner of Dreamy Draw felt like its own discovery. A wall lined with western hats begged for selfies. The stick-and-poke tents buzzed with the brave and the curious. A permanent souvenir. Food vendors offered everything from smoky tacos to crisp lemonade. Craft cocktails and local brews flowed from shaded bars. Between sets, people lounged on picnic blankets in little sun-drenched circles. Some were found laughing with longtime friends. Others created new friendships, drawn together by a shared love of the music
Friday’s lineup on the Bronco stage set right on a baseball field began with Field Medic. They brought a lo-fi folk chill to the heat. The band settled the crowd into a calming sway. Houndmouth took the stage during a golden sunset. Thee Sacred Souls wrapped the crowd in velvet. Always performing pure romance. The kind of tunes that make you want to slow dance. Their performance was perfect under the falling sky. The Lumineers erupted on stage with vibrant spirit. They leapt from the stage into the crowd. At times, members stood atop keyboards and tossed tambourines through the air. One broke, and a fan in the crowd was lucky enough to receive it.
At the Stampede stage, Hovvdy’s mellow harmonies created a warm pocket of intimacy. Richy Mitch & The Coal Miners drew out the sunburnt wanderers with rugged Americana charm. Marcus King Band closed out the stage with guitar solos that felt like electricity against the night air. His voice blossomed, but his guitar skills were absolutely mind-blowing. The smaller Poncho stage hosted Bummer Girl. They offered a tender indie set. It felt like a perfect secret treasure for early arrivals. People lounged in the sun, completely taken by the ease of the music.
Saturday felt ignited. A livelier, louder energy was carried in the desert air. Glitter caught against festival-goers’ sun-kissed skin. Bubbles floated through the crowd. People ran through with eagerness to pop them. Water balloons flew across the lawn as laughter mixed with bass pumping from the speakers. At JB’s lawn, people sprawled on the grass in patches of shade. Local gems like Sophia Rankin & The Sound brought homegrown spirit to the festival. Chromeo’s DJ set turned the lawn into a full-on disco daydream
The Bronco stage was fully lit once Ashe performed. The singer lifted spirits with her radiant stage presence. The crowd was a sea of fans that felt her joy radiate through them. It was a moment of girlhood, and the reminder of why friendships are the most beautiful part of life. Hands were held tight by friends who screamed every word. Hair was flowing in the air while others danced in circles. Father John Misty was nothing short of being poetic and unpredictable. He weaved humor and melancholy as the desert dusk turned violet.
Vampire Weekend took all of us millennials back home in technicolor. When “Oxford Comma” and “A-Punk” hit, the crowd became a sea of motion. People danced in their own moment of nostalgia and gratefulness that the band performed some of their most beloved songs. Their performance was one of my favorites to witness. A double drum set, dancers, horns, and a string section. They pulled the main stage set onto the baseball field.
The Stampede stage kept the energy high. Jack Van Cleaf and Asiris charmed the mid-afternoon crowd. Saint Motel brought sparkle. Their performance thrived in pure fun. Local Natives closed the stage. The performance was spectacular. Many fans had camped out all day and screamed each lyric into the night air.
Dreamy Draw 2025 was a festival not to be missed. The cacti and the Civic Center greenery carved out a place where people could let loose, and be present. Laughter was shared between strangers. New friendships bloomed. It was unforgettable from the tambourine toss from The Lumineers, to the dust kicked up under Chromeo’s beats.