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.
Best Friends, Best Fest: A Perfect Pairing
Article written by Kili Goodrich
Article written and photos by Kili Goodrich
Best Friends Forever Festival 2025 was certainly jam-packed with memories we will never forget. The three-day-long festival was seventy-two hours of friendships, witnessing high octane level artists perform together, and new friendships a chance to bloom and blossom. From reunions to modern performers, the stages we always set ablaze. It was a weekend of reunion, celebration, and creation of unforgettable moments. Held at the Downtown Las Vegas Events Center, BFF 2025 promised no overlapping sets between its two accessible stages. An absolute gift, so you didn’t feel like you were constantly choosing what to miss out on. A festival for emo, indie, and post‑hardcore obsessives, a gathering of old friends and favorites missed.
From day one, the crowd felt like a welcoming community. If people-watching, you could see people exchanging stories, playlists, tattoo stories, merch, and anticipation. The neon-lit Las Vegas night sky hovered close, but the emotional heat came from the stage. Even the weather on Friday, with constant rain, couldn’t dampen it. From the first moments of Friday, it rained on and off. Intermittent drizzles caught in stage lights. Turning the concrete slick and shimmering. Though each performer hadn’t allowed that rain to erase their electricity. Their energy sharpened.
Someone who went unnoticed was a longtime fan who shows up every single year dressed as a wizard. The wizard was often posted at the barricade of the smaller stage. During the rain, they tried to cast invisible spells to fend the weather off. “I’ve got it you guys.” They promised. The wizard's presence has become something of a tradition. Many joked that he should be crowned the official festival mascot. He has definitely become part of the lore.
Smaller acts opened the day, but carried a heavy weighted energy punch. Milly opened the Third Street Stage. A solid kick off bringing the gritty-raw energy. Also on that stage was Speedy Ortiz. The band brought a vibrant break into the gloom that the sky carried. Their set glowed. With moody guitars and Sadie’s vocals cut through with such gorgeous urgency. The crowd quickly responded. Fans spun merch overhead. They also danced through the rain with their friends. Making day one look like a cinematic scene. If you came solo, you left with new cherished friendships. Despite the rain, sets rolled on. The only real pause came toward the end of the night when lightning struck nearby. Bringing a heavy downpour and forcing a brief delay. Sadly, Narrow Head got caught in the cutoff. Their set was cut short just when the energy of the day was climbing. Luckily ,the band played an aftershow, giving those who stayed a chance to witness what they missed. Rival Schools packed a punch, closing out the day on the smaller stage.
There was a constant blood rush on the Best Friends Forever Stage. Superchunk, an indie-rock band from North Carolina, was more than lively. Their energy surged off the stage and into those in the crowd. They performed during a burst of sunlight. A break from the rain. Their music was joyous in addictive riffs. Bear Vs. Shark took that energy and ran even higher. Performing their album Terrorhawk, there was no moment to catch your breath. Their performance felt possessive of your attention. The lead singer scaled the stage structures. He often was seen hoisting the mic into his mouth and tossing tambourines into the crowd so fans could play along. The performance felt dizzying. A blur of motion and collective exhilaration turned their set into a standout. Definitely a highlight for me on day one. Also performing a beloved album was Cursive. After the rain delay, they performed their album Domestica. An album packed with its own type of heartbreak. The tension within it played live felt like fractured intimacy. It landed beautifully in that night’s emotional arc, hushed away from the rain. Kasher’s voice felt constantly pleading. Mineral’s farewell show rang out with the fallen sun. The performance was hushed then transformed to a crescendo of haunting lyrics. Minus the Bear closed the first night out performing their album Menos El Oso. Many fans traveled just to see the band take the stage.
Day two only carried forward momentum. Saturday dawned bright many sporting sunglasses instead of rain ponchos. The weather was comfortably tempered by a breeze. Fans strolled with snow cones in hand. Weaving through vendor tents, flipping through stacks of vinyl and CDs. They were caught posing for photos in front of giant festival signage. I was caught on more than one occasion exploring the Polyvinyl tent. The merch line was ever enthusiastic in its line length.
The day’s music opened with Awakebutstillinbed on the Third Street Stage. The band took the stage in what was their last performance together. Lead singer Shannon is now going in a solo direction. Their set felt like a tender farewell. Many fans held their hands in the air or close to their chest. Local band February the heat back to Nevada. Their performance was a burst of emotional energy. They had loved ones proudly watching side stage. Midrift, Oakwood, and Hey Mercedes were also ones we didn’t want to miss out on. The crowd scrunched together during their performance as if all of their energy together could create a beautiful explosion of appreciation.
Knumears kicked off the main stage. Rustling the crowd awake, there were many taking part in the crowd surfing activity. Pity Sex followed by breaking the grit and delivered a more dreamy, soft blow to the air. Their performance gave the crowd a chance to breathe before ramping up the energy again. Alternative-indie band, Tigers Jaw, hit the crowd with total eruption. Their set felt charged. Pretty Girls Make Graves kept the fun uplifted. Their performance was utterly compelling. The set felt disruptive and fun. It was fitting for Pedro the Lion to take the stage as the night cooled. Fans were more than excited for their 30‑year anniversary performance. Songs were sung so intimately. The vocals sounded tender to the folding night. Texas Is the Reason also took to the main stage. Many fans anticipated their performance. The songs filled with longing paired well in the lineup that faded towards the end of the day. Jawbreaker closed the night. Schwarzenbach brought both grit and humor. Between songs, the lead singer cracked jokes and bantered with the audience. Often, he would pause, acknowledging the long‑standing fandom with generosity.
If anything, Sunday carried just as much energy as day one. The crowd, including myself, was warmed already by two nights. The day felt like a surging energy. As if all of the fun from the first two days was fueling us enough to want everything to last. To just keep going. Much like the feeling of these bands that retired long ago, we get the chance to see their energy power up again for another round.
Day three kicked off strong on the Third Street Stage. Many were dressed in Empire! Empire! (I Was A Lonely State) merch. The band from Michigan, my home state, performed their emotional indie-rock sound to very excited fans. Eliott gave a captivating performance. Higdon wore sunglasses that reflected the cityscape. Delicate instrumentation and emotional softness contrast with the duo Mates of State. A performance by Wednesday had an intimate, warm staging setup. The band played around a warm lamp paired with an end table. On the table was a stuffed panda perched atop it, and a porcelain trinket. This created a cozy ambience. It was all a contrast of their emotional songs that drifted from soft to loud. Penfold closed the 3rd Street Stage by punching through the night air with thick-edged riffs.
Early sets on the main stage brimmed with momentum. These Arms Are Snakes brought perhaps the most intense energy of the day. Dare I say the entire weekend? The set was definitely a performance personifying caffeine. The lead singer leapt into the crowd on more than one occasion. Lead singer, Snere, even crowd-surfed himself. The epitome of a rock ‘n roll star. He indulged in a swirl of bodies and voices around him. The Appleseed Cast and Marietta swept the crowd's approval. I even caught sight of someone in a banana costume crowd surfing. Another fan used his best friend as a surfboard above the sea of hands. Cursive returned for another night on the stage. This time performing their album The Ugly Organ. The sound of this performance was much more ragged and dark than their performance on Friday. It unfolded beautifully. Jenny Lewis from the band Rilo Kiley joined the stage to perform “The Recluse” with the band. An absolute highlight of the entire weekend. Lewis returned an hour later to the stage for Rilo Kiley. The band, recently on their anticipated reunion, brought a gentler groove. Lewis, from Vegas, caught sight of commotion in the crowd. “Wow… I don’t think anyone’s ever crowd‑surfed during our show before. Thank you for that.” Jimmy Eat World closed the festival on Sunday night. Their mix of ballads and jagged rock made everyone’s last jolt of energy burst. They left the audience exhilarated.
Beyond the music, the festival layout, food variety, accessibility, shade tents, vendor variety, and Ghost energy drinks kept people fueled. People lounged comfortably with their friends. Some were circled in the shade playing UNO. There were a lot of moments where people even discovered new bands. In summary, Best Friends Forever 2025 carried such an emotional story physically and emotionally. There was so much connection within the community brought together by the music. It rained. It paused. It roared. Walking out of its glowing arches and barricades, I was left with more than merch. I was left with solidified connections and a bucket full of memories.
KEEP UP WITH BEST FRIENDS FOREVER ON THEIR INSTAGRAM AND SIGN UP FOR UPDATES TO NEXT YEAR’S FEST HERE.
A Night with Matt Maltese
Article written and photos by Morgan Newbold
Article written and photos by Morgan Newbold
Everyone Adores Matt Maltese(at least I do). Earlier this month, Salt Lake City welcomed beloved English singer Matt Maltese to The Depot for a night of sweet music and living in the moment. I have been waiting patiently for him to come to Utah for several years, and when that day finally came, I could not miss it! Matt is such a talented musician and such a sweetheart. His music has comforted me and brought me to tears over and over again, and I knew hearing his silky honey voice in person would be magical. I was not disappointed, and I couldn’t have wished for a better venue for him to play at than The Depot. The atmosphere is always so warm and cozy. The sound is incredible, and there are no bad views.
Opening up for Matt was London’s own Cornelia Murr, a dream pop artist who’s talent is painting skies with her music. Her voice floats over gentle beats, piano, and light percussion. I had never seen her or heard her music, but I was an instant fan. Her band had such a warm energy and was incredibly genuine and sincere in their performance.
When Matt came out later on, he stood at the microphone and smiled at the crowd. Everyone was so excited, mere feet away from him. I was honestly in shock. I don’t usually shoot artists that I love as much as I have loved Matt, and being not even three feet away was surreal. As he started to sing the first song, the light cast a glimmering spotlight on him from above, and shadows split everywhere. His voice reverberated into the small room, and you could feel the deep baritone send chills down your arms. It was crazy! His voice is so smooth. He opened up with a newer song called Always Some MF(so true) and a favorite of mine, Curl Up and Die! He played some of my absolute favorites as well, like Less and Less and Krystal.
I made my way up to the balcony to watch the majority of the show in awe. Towards the end, he asked if it was anyone’s birthday, and he brought up a young fan on stage! The band sat her down on a chair and brought her a little birthday hat and candle-lit cupcake while Matt sang his own Happy Birthday song to her. It was so cute! He also brought out Cornelia Murr to sing Pined For You My Whole Life and closed out with Everyone Adores You(at least I do)! Everything about this show was stunning. The dim lighting was a challenge to photograph, but the atmosphere fit the performance perfectly. I would kill to see him live again!
FIND MATT MALTEST ON APPLE MUSIC AND INSTAGRAM AND GET TICKETS TO TOUR FOR YOU MY WHOLE LIFE HERE.
THE BEACHES OPEN UP OUR EMOTIONS ON TOUR
Article written by Kili Goodrich
Article written and photos by Kili Goodrich
The room is dark. Static begins to fill the space before a voice breaks through, compressed and hesitant. It’s a missed call with a left voicemail about a sweater being left behind. There are subtle pauses that make you think that the relationship between the caller and the owner of the phone is anything but casual. There is history there. Before my mind could delve too deeply into the imagination of filling the story, the lights lifted. The lo-fi aesthetic was created by walking feet belonging to the members of The Beaches. Who brought their No Hard Feelings Worldwide Tour to Phoenix, Arizona, on October 14th at The Van Buren.
It was member Kylie Miller (lead guitarist) who walked on stage first. Following (drummer) Eliza Enman-McDaniel, who walked up mirrored steps to reach her set. While front woman Jordan Miller walked on stage with hands waving to a full crowd, and guitarist Leandra Earl trailed behind, sporting black sunglasses and slick hair. The four Canadian members were the epitome of oozing-cool.
Being unapologetically impressive, the band kicked off the show with ‘Last Girls At The Party.’ The energy from the fans was already pulsing. Hands lifted in the air with excitement as voices sang the punchy anthem loudly. The song itself carries live-wire-like tendencies. A song that you sing out the car window, or with friends, to get the energy pulsing before a night out. Seeing the song performed live cracked a higher level. One song in and I was blown away.
‘Touch Myself,’ also from their latest album, No Hard Feelings (that came out a few months ago), was next. The lyrics wrap around intimate heartbreak. Balancing vulnerability with bright energy in its sound. Front woman Miller tells the audience the importance of self-love before breaking into ‘Me & Me.’ There is an admittance to a low-hitting past, and an acceptance of rejecting self-loathing. The lyrics give confidence not to allow heartbreak to define you.
‘Did I Say Too Much’ was a mark on the setlist I was personally excited to witness live. Earl expressed how the song is about the voicemail that played at the beginning of the show from an ex-girlfriend, who she left her sweater behind with. Having an unguarded and willing heart for falling for someone who was in an open relationship. Crushed emotions at the end, but on stage the performance was still jolting at a high pace. Kylie Miller and Earl bounced on the stage while Kylie's sister, Jordan Miller, continued to command the space of the stage. Encapsulating the messiness and tension within a relationship was sung out in ‘Fine, Let’s Get Married.’ It’s the strain of the push-and-pull stages of a long relationship. ‘Dirty Laundry,’ didn’t keep any feet still. The song has a bouncing tempo that you can’t help but feel your body restless.
Before ‘What Doesn’t Kill You Makes You Stronger.’ Miller asked if anyone in the audience had an embarrassing story where they had happened to overshare. Stating that they liked the confession’s dark. It was a deep dive into a story of what once made a fan paranoid for a moment, revealed. The fan came on stage to tell a story about a time they were watching the show Wentworth with their roommate, and their roommate's ex-boyfriend sent them a text. The text read ‘hey, what are you doing?’ When the fan shared the text with their roommate, instead of appreciating their honesty, the roommate threw out their things and forced them to move out. Tough. Dramatic, but now the fan was in a better place, sharing the stage with one of their favorite bands. The song scrapes something personally inside me. Moments of oversharing lead to insecurity and paranoia. Just classic overthought and social anxiety.
‘Everything Is Boring,’ had the lighting transitioning from a warm scheme to deep hues of blue. Rain pattered digitally on a screen behind. Even though the meaning is a state of boredom, the song is a cause for restless leg syndrome. You can’t help but dance around, just as the members do on stage. Their chemistry together is so organic and fun to watch. The tempo calmed with ‘Lesbian Of The Year.’ The band's queer members, Earl and J. Miller, sat perched on the mirrored steps. The two gave a tender speech about their personal stories of coming out, feeling settled in themselves, and the gratitude for the love and acceptance around them. Earl mentions blooming late in her queer life. The love and devotion wrap warmly before Earl takes to the keyboard to play a beautiful rendition of the song while J. Miller sings emotionally.
One of my favorite songs is ‘Edge Of The Earth.’ A song adored by me and many of my friends. It was the band's first song that centered around queer representation. The lyrics feel like pushed distance, but fighting with the desire to be pressed close together. As the song ended, J. Miller asked the crowd if there were any ‘Jocelyn’s’ in the crowd, and that she was in search of her own. As the song ‘Jocelyn’ began, J. Miller was sashed with blue satin that read the name. She exited the stage and came down to meet the crowd. The song was sung with serenading fans intimately before the singer decided on a fan to give the sash to. I was lucky enough to have a shared moment with J. Miller who took my hand at one point and jumped up and down with me as the song closed.
The most iconic anthem of theirs, ‘Blame Brett,’ rippled through the crowd. The song is gripping with a hardened self-defence. J. Miller sings the lyrics as if it’s a declaration, a warning to future partners that she’s not “over it.” That she might act out, treat them badly, cheat, hurt them because she’s still processing her past. The bundle of the song seems like pushing back against people who expect her to hurt them, or be forever the ‘sad girl.’ Whatever it may be, just make sure to blame Brett.
The show closed with a reprise of ‘Last Girls At The Party.’ With the constant fluidity of high energy, I didn’t feel exhausted. By the looks of fans around me, it didn’t seem like they were either. The room was fully energized. The band members handed out set lists to adoring fans and signed a few items for some. There was such a grateful exchange between the performers and their supporters. This was The Beaches’ first solo-headlining show in Phoenix, and it was
FIND THE BEACHES ON APPLE MUSIC AND INSTAGRAM AND GET TICKETS TO THE NO HARD FEELING TOUR HERE.
Marina Lights Up the Desert Night at Arizona Financial Theatre
Article written by Kili Goodrich and photos by Danica Robinson, Walt Williams, and Caroline Charruyer.
Article written by Kili Goodrich and photos by Danica Robinson, Walt Williams and Caroline Charruyer.
Photo by: Danica Robinson
The arcade game sucks you in with glowing pinks, yellows, and blues. There's a flashing screen for you to select your designated player. The character Princess of Power is selected in twinkling stars. Fitting, as that is the name of Marina’s latest album and tour. On October 13th, the audience that settled into the Arizona Financial Theater in Phoenix, Arizona, took a ride into a galaxy far and wide. It was an absolute adventure saturated in hyperpop. Everyone dripped in layers of lace, white and blush tones, heart-painted cheeks, wrapped vines, glittering stars, and fruit. All-loving ode’s to eras that the iconic pop-star Marina has brought to us.
The Welsh artist released her latest album, Princess Of Powe,r back in June of this year. The electric pop album was highly anticipated and didn’t disappoint. Something I have always loved about Marina is that her art is consistent, yet morphs continuously into the most beautiful form of what she’s already gifted to the world. There is also an effortless way she brings comfort to the community around her. An aura that is safe in all of its vibrancy. For many of us, she’s the original landscape of Tumblr aesthetic. A face and sound that is both nostalgic and very relevant to the years carried to our present.
Photo by Danica Robinson
With our player selected, the audience enters the realm of glittery stars. Marina’s voice fills the theater, narrating the opening monologue of a tale as old as time. ‘Princess Of Power’ lyrically is the absolute best opening for this show. ‘Welcome to my world, princess of power,’ lyrics sung by Marina, who appears in a plum colored catsuit adorned with star patches. You can’t help but be utterly starstruck. She’s mesmerizing, filling the stage with complete dominance, and her voice blooms beautifully. The song carries the weight of independence and transformation. The first level of the game we’re all in is floating through a meteor galaxy of star fields. Marina is welcoming us to her world, and it is exactly where you want to be.
‘Are You Satisfied?’ is the last song of level one: Star Fields. The song is dressed more as alt-pop, and yet still very theatrical. Fans snap in the air as it's the first taste from her album The Family Jewels. Back when she was Marina and the Diamonds. The theme of the cost of success is displayed along with ambition battling satisfaction. If you dive deeper into the lyrics, you’ll find the tug between authenticity and compromise. The repetition of the chorus hangs in the air. For me personally, it felt like chasing goals, and when caught up ...am I full? When will that level of comfort relax into satisfaction?
Photo by: Walt Williams
One of my favorite songs from her latest album opened up level two of the night's adventure. ‘Cupid’s girl’ has a beat that is so hypnotic. I can’t help but compare it to a siren song. It absolutely lures you in with building percussion. The sound sways lightly before there is a release of an arrow and the smacking impact of its point reaching its destination. The mythological lyrics met with the bow and arrow sounds, paint a captivating imagery. Marina also mimics the action of letting the bow go before twirling her long, dark hair and arms around. I couldn't help but feel a strong sense of reclaiming feminine power as I watched her performance. The song is overall addictive and confidently flirtatious, just as the performance. The familiar hell’s level continued on with ‘Hermit The Frog,’ before nostalgia broke. A burst of excitement for a first taste from Electra Heart. A golden stamp of an iconic album in recent history. Marina even gave a nod to Tumblr's roots as the album was the site's poster child. ‘How To Be A Heartbreaker’ is an anthem for millennials. A guidebook to the rules of how to avoid getting heart punched. Have fun, but be the first to leave. The lyrics are power dynamics in romance, and the audience swore by them loudly in the air.
Level three: the cocoon set off into ‘Everybody Knows I’m Sad.’ The journey so far has been through identity, love, confidence, strength in vulnerability, and self-awareness. Marina’s sound production is always captivating, but this performance is more stripped back than the rest. In some moments, the artist takes time to sit on pink steps. The emotional weight is rising off of her. The track fades in what feels like an exhaled relief. ‘I Am Not A Robot,’ continues that vulnerability. Making this level feel the most raw of the night. An open door to an inner layer of peeled-back confidence. Something extremely human. ‘Butterfly’ is the perfect song to close this level, giving a beautiful transformation to the next. The tender melancholy meets something more hopeful.
Photo by: Caroline Charruyer
‘Digital Fantasy’ opened up for the self-titled level four. Shoulders begin to move, and feet rhythmically dance. The audience falls in sync with the movements. If anything, it is very apparent how hypnotic Marina is. We’re all traveling down a digital grid of buildings with 3D abbreviated colors. The gaming sounds punch through the air in a breezy tone. We are sucked into the idea of a desire for authenticity, battling fantasy. It’s difficult to differentiate when under a love spell. ‘Venus Fly Trap,’ transitions to a more funk-influenced sound of pop. The lyrics are tied with a tight string of confidence to never shrink for anyone or anything. ‘Why be a wallflower, when you can be a venus fly trap?’ ‘Metallic Stallion’ greeted the screen with a digital, luminous white stallion racing — mane blowing in the digital wind.
Level five: Party Paradiso was absolutely thrilling. In fact, the rest of the night was jam-packed with Marina’s most highlighted songs. Many audience members were peppered in an assortment of fruit. Delicious fashion choices to tribute ‘Froot.’ There is extra weight to the musicality of this performance. It feels electrified in its own special vibrancy. ‘Cuntissimo’ is absolutely fed by its energy. Carrying that live-wire energy into something more bold. This personally was the song of the summer. It oozes with confidence. A glamorous love story about self-identity. Towards the end of the performance, Marina is met with hand-selected audience members who all handmade the most exquisite costumes to pay tribute to different eras of Marina’s career. A winner of the pageant is sashed rightfully so, one fan who hand-crocheted an outfit to the era of ‘Froot.’ The runner-up was a fan who tributed Marina’s current era, in which they went to the commitment of hot gluing fabric and pearls to their face.
Photo by Danica Robinson
Another fan came all the way from Mexico, and another who dressed alike Marie Antoinette gave a warning if there was anyone in attendance from their school. As they borrowed from the theater closet. Marina replied, “I bet they wouldn’t mind. This is the most acceptable place for it.” Which, she’s one hundred percent right. The community the singer creates is open to expression. ‘Bubblegum Bitch’ was a powerful end to level five.
I was most excited to hear ‘Final Boss’ live. The song is so fun, in all of its digital-gaming existence. When the lights lifted, the crowd began to scream “Finish him!” all at once, as I have done a billion times listening to the song on my own. Entering this level with this song felt like a final confrontation from the adventure we’d been riding. The energetic rhythm of ‘Rollercoaster’ was transcendent. There was a sudden feeling of fulfillment, finally met with many moments before the conflict. The song is packed with intent and manifestation. ‘Primadonna’ closed out this final chapter. A fitting end to “primadonna girl, all I ever wanted was the world” from the beginning of “welcome to my world, princess of power.” The glossy track is a satirical pop anthem. An anthem of a narcissistic woman dripped with vanity. There’s a reminder within it that, through all of the glamor is loneliness. There’s so much tension between performance and self-absorption.
Photo by: Caroline Charruyer
Marina announced that this show had been her biggest performance in Phoenix. ‘I <3 U’ wrapped the night in its disco wave that was met with modern pop sounds. The song itself feels like a celebration. It contains notes of glitz, something cinematic. The song illuminated the night perfectly with its time travel motifs. There’s so much social context, that makes this performance feel grand, and intimate. A feeling curated that made the thousands of people in the audience all feel welcomed to the biggest party of commodification of love. The entire night felt celebratory for not only a beloved artist who shaped pop music beautifully, and continues to do so, but also everyone in the audience to feel just as loved, and celebrated.
FIND MARINA ON APPLE MUSIC AND INSTAGRAM AND GET TICKETS TO THE PRINCESS OF POWER TOUR HERE.
Benson Boone Soars Above Salt Lake City with Dazzling Second Sold-Out Show at the Delta Center
Article written by Alec Moody and photos by Shayden Schoonover
Article written by Alec Moody, photos by Shayden Schoonover
October 9th, 2025, was the day Benson Boone took over the Delta Center in Salt Lake City for the second of three consecutive sell-out nights, a testament to his rise and devoted fans. Even before the opening note was played, there was an energetic charge within the arena. The evening was meant to get underway with Scottish singer Brooke Combe, but because of a sudden illness, she was unable to perform. Despite the fact that she was missed, expectations for the arrival of Boone merely grew stronger as the lights dimmed and murmurs were made around the audience.
As I got settled, I could not help but soak in the remarkable stage design, a work of art that beautifully complemented Boone's dramatic and heartwarming style. The setup was reminiscent of a very long red and gray guitar, split at the back with his drummer to the left and his guitarists to the right. Stretching out from the stage was a catwalk for the "neck" of the guitar, reaching its apex in a heart-shaped platform emblazoned with Benson's monogram, "BB." The centerpiece of it all was a tall portion of the stage that rose up into the air, nearly reaching the upper decks of the Delta Center, acting as a visual and emotional culmination of his performance.
Benson Boone came on in subdued elegance. Enveloped in ethereal light, he started the night off by singing "I Wanna Be the One You Call," a song that touches on themes of emotional vulnerability and longing to be someone’s safe haven. The moment was intimate, almost fragile, as his loud voice resonated within the large stadium. But it was not long before that tranquility was ruptured. The show quickly transitioned into a high-energy spectacle of light, sound, and emotion. At one particularly jaw-dropping moment, Boone disappeared from sight between songs, only to reappear dangling nearly fifty feet above the stage, suspended by a massive chandelier, playing "Mystical Magical." The audience erupted in shock and awe as the chandelier started to move from one end of the stadium to the next, a truly cinematic moment.
And from there, the show only intensified. Boone's stamina and theatrics were at their disposal for the entire evening. Between multiple costume changes and an astounding twenty-one backflips (yes, I counted), he ruled the stage with the confidence of a veteran and the fervor of an artist who genuinely loves what he does. Transitions were seamless, moving between moments of exposed soulfulness and sheer pop spectacle. The lighting, dance, and audience interaction made it clear that each moment of the show was carefully planned in an effort to make a lasting impression.
One of the final highlights came around the fifteenth song of the setlist. Boone surprised the audience by bringing out a special guest who wielded a t-shirt cannon. But it wasn’t just any shirt, printed on the one caught by a fan was the name of the next song and the artist that Boone was about to perform his own cover of. For night two, the chosen song was Alicia Keys’ “If I Ain’t Got You.” With soaring vocals and emotional conviction, Boone delivered the song with both power and tenderness, earning one of the loudest standing ovations of the night. By the show’s end, fans were breathless, inspired, and already eager for night three. Benson Boone’s second sold-out show in Salt Lake City wasn’t just a concert; it was a full-scale emotional journey, one that proved why he’s become one of pop’s most magnetic live performers.
FIND BENSON BOONE ON APPLE MUSIC, INSTAGRAM, AND GET TICKETS TO THE AMERICAN HEART TOUR HERE.
Wolf Alice Enchants Salt Lake City with a Dream-Soaked Performance
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
A tinsel silver backdrop shimmered as The Complex filled to the brim for a sold out show on October 4th. Wolf Alice brought The Clearing Tour to Salt Lake City, Utah. The British alternative rock band is known for their genre versatility. They’ve been delivering power-packed music with ethereal ballads since 2010. The band consists of Ellie Rowsell (guitar, lead vocals), Joff Oddie (guitar, vocals), Theo Ellis (bass), and Joel Amey (drums, vocals.) The concert space was nothing but a celebration of their live performing ability. It left us breathless and full.
The room fell dark with a heavy hush. The sense of hearing was alerted as Rowsell began singing the first lines of ‘Thorns,’ the opening track of their latest album The Clearing. Lights dimmed with a warm autumn color scheme. The song felt thick with emotion. Rowsell sings, “I must be a narcissist. God knows that I can't resist making a song and dance about it. Maybe I'm a masochist.” Giving the feeling of a push and pull situation. One about dealing with reconciliation with pain and expression. The somber sound felt like the perfect opening curtain moment to begin the show with.
The somber curtain may have lifted, but the gentleness of the beginning remained the same. With ‘How Can I Make It Okay?’ playing I began to think that Wolf Alice’s music always gives main character energy to the most ethereal movie magic moments of one's life. Songs that feel very prominent in the space around you. As if their music feels magically absorbent. The song in particular progresses into a beautiful build. Rowsell’s light voice is repetitive in passionate pleas of “I just want you to be happy. Nothing else is as important as that to me” while the crowd and other band members echo back the lyrics of the title. The entire song feels heavy with desire to make everything right.
‘Delicious Things,’ paired well with the opening two songs. Gentle and heavy in meaning. All before the band broke the fragile thread with ‘Formidable Cool.’ The lights were stark white and flashing. A perfect tone set for the heavy guitar riffs. The energy of the song is unconventional. Struck with Rowsell’s delicate yet punchy tones, and deliberate tension. The song paints the energy of someone who charms, but the narrator sings, "I know it's all an act.” The lyrics feel like a power imbalance that reflects into the cutting sounds coming from the instruments. The disappointment of putting trust into something that was just a facade.
A song I personally have loved dearly from the band's latest album is ‘White Horses.’ Drummer, Amey takes lead vocals throughout the song. The song carries a warm ambience. Rowsell breaks through Amey’s sung lyrics with, “Know who I am, that’s important to me. Do what I can to see the wood from the trees.” The song feels like a nod to heritage. A found family formed from those who travel in life beside you. There feels like a curiosity to openness and personal identity. The way the band performs the song made me feel the sort of freedom one has running through open space. No bounds.
When folk meets bedroom pop, you get the luminous ‘Just Two Girls.’ Rowsell ditched her guitar to make a bond with the spinning reflection of a disco ball. The piano highlights the song, which feels like a combination of dinner conversations with your closest friend. The intimacy of the song is light and relatable. The acoustic guitar faded out the piano with ‘Leaning Against the Wall.’
A song that feels like one is fully saturated in infatuation. The song is folky and tender with full drum takeovers. Often darkening to light Rowsell in a drowning pink. A notable moment of the song is the outro’s digital drum sounds that ties the ribbon of identity while being in love. ‘The Sofa’ was performed with a cinematic feeling. Rowsell sang into the mic with her hair blowing back while singing about aging and accepting uncertainty. ‘Bread Butter Tea Sugar’ was an absolute highlight. A projector displayed the shape of a star, big and wide on the silver backdrop. Rowsell in the middle of the shape, while miniature stars projected like disco balls here and there.
The beauty of the dreamlike moment was disrupted by ‘Yuk Foo.’ The song yanked that silver haze from the stage and replaced the scene with flashing cop like lights of reds and blues. Rowsell appeared back onto the stage with a megaphone. She sang the song with incredible distortion. The song itself is feral and unfiltered. It's stuffed with frustration and impulse. The lyrics are for someone bored and unbothered. Someone consumed by emotion and giving cold retaliation.
‘Lipstick On the Glass’ is as incredibly haunting and beautiful live as it is on recording. The song feels like enduring something that is vulnerable and having the inability to resist it. The performance feels like a dramatic peak drenched in red light. ‘Smile’ is one of my favorite songs from the band, and the performance was pulsing with energy. It has a grungey transition that is gritty. The lyrics are assertive and powerful through a female delivering them across the crowd scape. The song addresses pressure to conform. The lyrics validate personal emotions and point out the balance between sensitivity and strength. There was a moment where Rowsell's guitar string snapped while she and Oddie were having a shred off. The moment continued in a scene of bandmates laughing and absolutely enjoying themselves.
It was no surprise that the punch-packing set list ended with ‘Bloom Baby Bloom.’ A song everyone was buzzing with anticipation to hear live. The song is beautifully rich. Calm and vibrant. The lyrics show off the importance of identity. Of course, the band returned to the stage with an encore. After all, ‘Don’t Delete the Kisses’ could not be missed. The crowd was gifted even more when Rowsell entered down into the crowd. She danced and sang along with fans in the thick of the audience. A cherished and unforgettable moment. Wolf Alice delivered an absolute iconic performance. Their tour in North America is coming to a close, but we can’t wait to catch them again in the future!
FIND WOLF ALICE ON SPOTIFY AND INSTAGRAM AND GET TICKETS TO THE CLEARING TOUR HERE.
Wet Leg Turns Up the Heat in the Desert
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
British indie-pop band Wet Leg brought the Moisturizer Tour to Phoenix, Arizona, on October 3rd. Packed wall to wall, the fans who filled the Arizona Financial Theater were left breathless, and absolutely hydrated with a nonstop thrilling performance. The Grammy-winning indie pop band is co-founded by Rhian Teasdale (lead vocals, guitar) and Hester Chambers (guitar.) Adding to the catchy and furious mix are also members: Josh Mobaraki (guitar, keyboards), Ellis Durand (bass), and Henry Holmes (drums). The band's debut self-titled album was released back in 2022. Fans were easily gripped by tongue-in-cheek lyrics paired with grungey guitar sounds. It was no let down continuing on with that appeal when their second album, Moisturizer, was released back in July of this year.
A sea of fog hazed the stage. The clouds seeped deep into the swells of the buzzing crowd. Even with vision blurred, you wouldn’t have missed Teasdale walking through the thick of it. Parting the fog with such confidence and ease. With a translucent neon green guitar hanging from her body, Teasdale’s arms were curved in strength, lifted into the air. A spitting image of what control over a moment looked like. The rest of the band stayed tucked behind the hazy folds before the lights began to flicker. The light production was absolutely hypnotic. Fitting for the first song, ‘Catch These Fists.’ With lyrics, “you should be careful, do you catch my drift? ‘Cause what I really want to know is can you catch these fists,” ignited the entire performance in a throat-punching experience.
Without time to catch your breath, ‘Wet Dream’ kicked next into gear. The fog still thick, and full, was not dismissive to the fans who wore lobster claws on their hands. An ode to a recurring motif in Wet Leg’s music video for the song. The band has always been known to be bold and creative with their aesthetics. Lobsters themselves can be symbolic to resilience and become transformative. Which can be mirrored in the band's dream-like and fun appearances with songs that can channel soft and hard sounds all at once.
With Teasdale commanding the stage, the fog seemed to part for her — separated by jagged movements, and gentle kneeling to fans. There was a sudden feeling that one was spun in several circles, and left to stand hard on two feet. The performance was barely touching the surface of a loaded set list, and Wet Leg was already clutching the crowd with command. Still, you fell obedient to the dizzying spell, because the live performance of catchy dead-panned songs was absolutely overwhelming in the best of ways.
‘Oh, No’ is a song about disillusionment with the digital world. Doom scrolling, attached to loneliness, added lightly to the grungey space. ‘Jennifer’s Body’ was a fan-sung favorite. A generation connected to the classic horror film, yes, but the likeness spills over into overwhelming adoration. A type of delicious eternal devotion. Embracing the performance intensity was pushed further with ‘Being In Love.’ The song encapsulates the intensity and confusion of new love. How the experience feels gut-punching and overwhelming to the point of losing sleep. Overall consumption and how easy it is for a heart to slip into.
A personal favorite song from the band's latest album was ‘Davina Mccall.’ Speckled in the crowd were fans lifting their cell phone lights into the air. A transition from the constant intensity of the night. Though this performance was equally focused on holding. The connection with the crowd was never in troubleshooting status. The performance was a deep hypnosis. Only did the trance break when fans slipped their eyes away to look at those beside them to dance even harder. ‘U and Me At Home’ was where that fan-to-artist connection held the most strength. The crowd echoed lyrics back loudly to Teasdale as the artist swept gently across the stage with the mic extended. The exchange felt united.
With five songs left, ‘Too Late Now,’ thrummed in the air. A slow pulse that sonic-races into a pace one is all too eager to keep up with. ‘Angelica,’ is everything sardonic and awkward about going to a party. A thick texture of being social in friendship, centered by social anxiety. The letter ‘D’ in balloon form was tossed around the crowd as the band kicked off their first released single, ‘Chaise Lounge.’ The letter is a reference to the first verse of the song, “I went to school and I got the big D.” I couldn’t help but also find it amusing that the song sings, “Would you like us to assign someone to butter your muffin?" A reference to the film Mean Girls. The film has a meme-worthy moment noting the date, October third, which was fitting considering the day of this performance, and the film quote in the song. The entirety of Wet Legs’ performance felt like a fever dream spun on adrenaline-pumping nostalgia.
— but it didn’t end there. ‘Mangetout,’ a dismissive bold declaration towards a nuisance of a person. The song title is a clever pun in itself of man-get-out. Trevor, get lost. Forever. While chests lifted to only fall for a caught breath, Teasdale eased over to the side stage. ‘CPR’ walks a line of wondering if a consuming love is a kiss of death or life. A metaphor for a medical emergency. Towards the tail end of the song, Teasdale lifts a crimson phone mic’d and ready with a dialing call to only reveal that this romantic love is a declaration of being in love. The song then explodes into another chaotic frenzy of “I'm in love, and you’re to blame.” Lyrics that show how the Arizona audience was left feeling. We’re in love, and Wet Leg is to blame.
FIND WET LEG ON SPOTIFY AND INSTAGRAM AND GET TICKETS TO THE MOISTURIZER TOUR HERE.
LUCY DACUS GIVES A FEELING THAT LASTS FOREVER ON TOUR
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
An ode to lovers. To those who are infatuated with music, and one another. Both combined, created a vibrant energy at Arizona Financial Theater on September 11th in Phoenix, Arizona. All thanks to Lucy Dacus. Those who are lucky know Dacus as one-third of the band Boygenius. The luckiest know her as a solo singer-songwriter from Richmond, Virginia who delivers songs in the most beautifully, honest way.
The stage, dressed as an art museum, held the story-telling for the night. Beautiful gilded frames shown digital art throughout the gracious twenty-one song set list. Kicking off the night was ‘Hot & Heavy.’ An instant crowd favorite that didn’t falter energy in ‘Ankles,’ which it bled into. The transition was a trade of a shimmering gold guitar, for a cup of warm tea held in an Arizona mug. Both decorated Dacus’ rich and buttery tones.
Comfort was Dacus seated on a small platform. ‘Modigliani,’ a longing of intimate friendship, was an intimate performance. Fans held ‘VBS’ dearly. Their voices singing along the lyrics filled the theater. Strangers smiled beside one another with a heart full inamoured with the same bliss. ‘Talk,’ a favorite from Dacus’ latest hit album, Forever Is A Feeling. Cups were full. Yet, the gift kept giving in overflowing amounts.
Halfway through the set list and Dacus began the tune of ‘Best Guess,’ a bet on lasting love. Blooming the tenderness of the song, the singer invited couples onto the stage to dance as she played along. Though this invite was preplanned. The oath to lasting love. As these couples had taken up an offering that the singer had created an opportunity for — marriage. That’s right, Lucy Dacus created a tender, safe space for couples to wed if they had desired to. The song was set as a first dance moment for couples who were about to be married. When the crowd ended, Dacus held signed marriage licenses, a dozen roses. She then officiated the ceremony in front of the crowd. The stuff of dreams.
“The line pulses. Much like my heart. Just thumping inside of my chest. Impatienting beating. Patient with how tender it feels. How to sum up big feelings. How to dissect what organically continues to bloom. Doors that are closed to many have been only open to you, and I like it that way. In this house with you I feel comforted. I feel safe in our walls. Our foundation may have taken its time but because I always knew how beautiful the outcome would be. You are a scoop of light. We’ve been together for four years, and I told you that four years ago my life started. Today, as we are married, our life continues. My heart is so grateful for you. The only sense I can make is that celestial magic woven in the marrow of our bones paired us together long ago. I’m so deeply happy to experience us with you. Forever is a feeling, and I want to feel forever with you.” I said to my wife as Lucy Dacus had married us this very night at that very moment.
Next, "Brando" an autobiographical song about a dramatic high school friendship where a friend, who based his personality on consumed media, tried to mold the narrator into a "scene partner" for his life's movie. Rather than get to know her for who she was. Another treat was Dacus performing her latest new songs, “Bus Back to Richmond,” and “More Than Friends.” New, but not unknown to fans singing each lyric.
The album and tour titled “Forever is a Feeling,” wrapped the set in a silky ribbon. The night wasn’t fully closed. Dacus graced the stage again. The soft whimsy of her vocals coated the Boygenius track, “True Blue.” With one last breath of ease, the singer finally soothed, and roared the night with “Night shift.” A song Dacus said she once wrote in Phoenix on a couch in the green room of the venue Valley Bar. A fan cheered from the crowd and asked for everyone to go to the smaller venue after the show. In which Dacus kindly declined and said “I'm going to bed.” — a feeling commonly felt after a long night of the singer gracing us with velvety tones.
FIND LUCY DACUS ON SPOTIFY AND INSTAGRAM AND GET TICKETS TO THE FOREVER IS A FEELING TOUR HERE.
From Chaos to Connection: YUNGBLUD Shakes Salt Lake City on the Idols World Tour
Article written by and photos by Alec Moody
Article written by and photos by Alec Moody
On August 26th, 2025, YUNGBLUD brought his explosive Idols Tour to The Union in Salt Lake City, UT, marking the third stop of the run. Before the headliner took the stage, rising artist Sawyer Hill opened the night with a set that perfectly warmed up the crowd. Hill, who first got his start as a 15-year-old playing DIY venues and bar shows in Fayetteville, AR, has since built a devoted fanbase through TikTok, and it showed. He kicked off his performance with his track “Firestarters” before quickly transitioning into “For The Hell Of It.” The highlight of his set came when he surprised the audience with a cover of Johnny Cash’s “Folsom Prison Blues.” His raspy, low vocal range gave the song an edge that immediately grabbed everyone’s attention and had the room buzzing.
Not long after Sawyer Hill wrapped up, the lights dimmed and the room filled with anticipation for YUNGBLUD. He stormed the stage with an energy so massive that my Apple Watch instantly gave me a decibel warning, reminding me just how loud the environment had become. Dressed in full leather—chaps, pants, vest, and dark sunglasses he looked every bit the rebellious rockstar his fans came to see. The set opened with “Hello Heaven, Hello,” a nine-minute whirlwind of crashing drums and fiery guitar. YUNGBLUD launched himself across the stage, bouncing high into the air as if gravity didn’t apply to him, feeding off the audience’s intensity with every movement.
After the explosive opening, the energy took a turn. As smoke rolled across the stage and the lights dimmed to a soft yellow glow, YUNGBLUD picked up an acoustic guitar and shifted into a more vulnerable, stripped-back song. The change in atmosphere was immediate, where moments before the crowd had been roaring and leaping, they now swayed quietly, or moved their arms back and forth at the direction of Dom. It was a raw and intimate interlude that showcased his ability to not only deliver chaos but also connection, serenading the room in a way that left the entire venue hushed and mesmerized.
From there, the night only escalated. He tore through fan-favorites like “Zombie” and “Idols Pt. I,” but the standout moment came when he invited a young woman from the audience to join him on stage for “Fleabag.” Dom greeted her on stage with a large embrace and then handed her a guitar. She nailed the intricate part with confidence, and the crowd erupted in cheers that nearly shook the walls of the venue. In classic YUNGBLUD fashion, he wasn’t afraid to push boundaries either, at one point playfully and tastefully pulling his leather pants down just enough to flash the top of his butt cheeks for a split second, quickly pulling them back up and diving right back into the music. It was the kind of chaotic, tongue-in-cheek moment that only YUNGBLUD could pull off.
By the time the show ended, the crowd was hoarse from screaming and drenched in sweat from jumping along to every song. Yet the night didn’t end when the lights came back on; fans who lingered outside The Union were treated to a surprise visit from Dom himself. He signed autographs, posed for photos, and spent time connecting with as many fans as possible, showing a level of gratitude and intimacy that matched the raw emotion of his set. If the Salt Lake City stop was any indication, the Idols World Tour is one you absolutely cannot miss. If YUNGBLUD is heading to a city near you, do not hesitate to get your tickets, because this is a show you’ll remember long after the final encore.
FIND YUNGBLUD ON SPOTIFY AND INSTAGRAM AND GET TICKETS TO THE IDOLS WORLD TOUR HERE.
Olivia Dean Across the Atlantic tour
Article written by and photos by Paige May
Article written by and photos by Paige May
Last Friday (August 1), Olivia Dean brought her soulful presence to Salt Lake City as part of her US and Canada tour, Across the Atlantic. With just two shows left on the schedule, she performed her 10th set at the more snug and cozy venue, The Soundwell. Initially, I was shocked to find out that the artist was playing at such a small venue, yet in the moment, the close quarters only amplified the experience, drawing the audience into a more personal and heartfelt performance.
The evening opened with a vibrant set from DJ Woody, who warmed up the crowd with a mix of recognizable R&B and soul tracks. Audience members danced, swayed, and sang along, their excitement growing with each familiar tune. As his set progressed, the venue continued to fill, with fans eagerly pressing toward the barricade to claim a closer spot. When DJ Woody wrapped up and the crew took the stage to prepare for the headliner, anticipation buzzed through the room. Each mic check and instrument tuning was met with cheers, the crowd eagerly mistaking every sound for Olivia’s entrance.
Suddenly, the house lights cut to black. In that brief moment of darkness, a wave of ecstatic screams filled the venue. The stage then lit up in warm hues of orange and red as the band members began to emerge. Moments later Olivia Dean graced her way onto the stage, the tune “Nice to each other” playing as crowd members grabbed onto their friends or loved ones with excitement. This was a perfect introduction to her set as the song was upbeat and energetic.
As Olivia continued on with her set, she maintained a fun and charming personality that kept the crowd engaged. She delivered a set rich with emotional depth and relatability, her setlist seamlessly weaving through themes of love, empowerment, and vulnerability. Romantic tracks such as “Touching Toes” and “Danger” leaving the crowd in awe as they transitioned to bold anthems like “Ladies Room” and “Be My Own Boyfriend.” At one point, Olivia paused to share a touching story about her grandmother’s journey to the U.S., a moment that added a personal touch, which transitioned into her playing the song “Carmen.”
Whether you were attending solo or with someone, not a single person stood still. Couples held each other close, and friends belted out lyrics into imaginary microphones, fully immersed in the joy and connection Olivia created onstage.
I couldn’t help but notice that while the recorded versions of her songs are impressive, her live performances took them to another level. Accompanied by a band that leaned heavily into soul and jazz, many songs gained new depth and texture. Some numbers were even slowed down and played softly, allowing the emotion to truly resonate and fill the room.
As her set drew to a close, Olivia wrapped up the night with her hit song, “Dive.” The crowd erupted, singing louder and more passionately than ever before. It was the perfect, electrifying finale to an unforgettable evening.
