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.
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.
FIND OLIVIA DEAN AT HER INDIVIDUAL LINKS HERE: SPOTIFY AND INSTAGRAM AND CATCH ONE OF HER SHOWS ON HER CURRENT TOUR.
Michael Clifford Is “cool” Enough to Sell Out The Fonda Theatre
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On July 31st, Michael Clifford played a sold-out show at the Fonda Theatre in Los Angeles. Announced on June 25th, the 1,200 capacity venue was sold out in less than a minute. “One Night Only” quickly turned into two nights, with the second date also selling out. Clifford recently released his solo debut album “SIDEQUEST” after more than a decade of music with the Australian band 5 Seconds of Summer. Often shortened to 5SOS (pronounced five sauce), the band was formed in 2011, and has released five studio albums to date, each peaking at No.1 in Australia and receiving numerous awards and accolades. 5SOS is still active, but every member has released their own solo music, with Clifford being the latest of the four to do so. He has also joined his bandmates on the charts, as “SIDEQUEST” hit the top 10 on the ARIA Albums Chart in its first week. For his album release week, he had a jam-packed schedule filled with pop-ups, signings, and sandwiches.
On album release day, he hosted a thrift shop with ~400 pieces of his own clothing for sale in addition to the album. After that, he hosted two signings and a sandwich pop-up at Ike’s Sandwiches where he met fans and had a signature sandwich that came free with a purchase of the album. For the live shows, Clifford was joined by electronic-indie pop artist Ryan Hall as his opener, and during Clifford’s set, Hall joined him on stage as guitarist and backup vocals. Fans came from all over to see these exclusive shows, some even camping out in front of the venue overnight.
Ryan Hall started off the show with a guitar, a groovebox, and no backup necessary. He kept the crowd involved and engaged, slipping in a snippet of “Who Says” by Selena Gomez in the middle of a song and playing his cover of “Iris” by Goo Goo Dolls, the crowd singing along resoundingly. He made some of his own beats in real time with ease. He got the crowd to jump with him during his more upbeat songs, and put their flashlights up for the especially sad one. During a break between songs, he riled the audience back up with the chorus of “Life Is a Highway” by Rascal Flatts. The standout of Hall’s set was his final song “i took shrooms at laguna beach and thought of you,” which got the crowd jumping in time with the beat and was a fun song to close out with.
Find Ryan Hall at his individual links here: Spotify and Instagram
Before it was time for Michael Clifford to take the stage, a video game intro started. A dialogue with video-game-character Michael as a knight with insecurities on a sidequest that is just doing his best played on the screen. Clifford ran out on stage with Ryan Hall and drummer Joey Castro. He started out his set with “cool,” one of the lead singles from the album. The crowd supplied his backing vocals, shouting “am I cool enough” during the choruses. With “SIDEQUEST” having a 10-song tracklist, it was obvious the show wouldn’t be a very long one, but Clifford took an appropriate amount of talking breaks to round out the time and interact with the audience.
He took care to thank everyone for coming, introduce his band, and express how insane this time in his life has been. He talked about being a new dad (with another kid on the way!), releasing a solo album for the first time, and gearing up for a new 5SOS era. On that 5SOS note, he mentioned that after these two live shows, that would be it for “SIDEQUEST”. Whether that’s just it for a while or forever, it was clear that these shows were incredibly special and would not be happening again any time soon, and everyone in the room was trying to bottle the feeling.
An immediate highlight of the set was “thirsty,” a perfect showcase of Clifford’s vocals and the intense music that translated beautifully live. He went on to play his song with Hall, “if i had a choice,” and praised him for pulling double duty. During breaks, Clifford made self-deprecating jokes on par with his album themes of anxiety and expressed how he was feeling about the show: “I was nervous for this one. This one scared me.” He thanked the crew, his wife, the fans, and his favorite-artist-turned-friend Porter Robinson (even though he unfortunately couldn’t be there in person). After that, he launched into “kill me for always,” his collaboration with Robinson, a fan favorite. Since he was running out of original songs to play, he did a cover of “Complicated” by Avril Lavigne, which got the crowd to a 10, excitedly singing along to the iconic 2000s hit.
Everyone was invigorated, and Clifford topped that by bringing out Awsten Knight (Waterparks) to do their song “give me a break,” following some silly banter that the audience was eating up. The entire venue was jumping around and screaming the words. Afterwards, the stage was vacated, and another video game dialogue played on screen, saying that the sidequest was over. For the encore, “enough” was the final note of the night, one of the loudest and most vulnerable songs from Clifford all evening. The album hits hard on themes of insecurity, comparison, and longing for love and attention. If nothing else, everyone in the venue singing in unison about feeling like they’re not enough was a firm reminder that they are not alone in how they feel, whether on stage or in the crowd.
One of the best things about the whole show was that Clifford’s dedicated fans were singing every word to every song, despite the fact that the full album had only been out for six days at that point. Furthermore, fans had shown up in DIY merch, themed nails, custom friendship bracelets, and more to express their appreciation for Clifford. After the show was over, leaving the venue, fans were already setting up chairs and tents for the second show, the next night.
Ty Segall/Primus Show Review
Article written by and photo by Peter Eckhardt
Article written by Peter Eckhardt
July 8th saw Jackson, Wyoming, as the site of one of the most incongruous performances in music history. On top of the local ski area Snow King Mountain Resort, contemporary psych-rocker Ty Segall and weird rock legends Primus played the sunset over the Tetons.
Like any other venue, you have to wait for a Snow King concert. You’re not waiting to get in, though– you’re waiting to get on the gondola to the mountain top. After doing our time in the parking lot, we rode up with some local under-21s. As they passed a bottle of green apple Crown Royal, the one with a neck tattoo of scissors, regaled us with how he got paid for a haircut with ketamine. Out of the glass window, I saw a herd of antelope in the distance.
The scene set, we stepped off the gondola. Sponsored by local radio station K-HOL (said like you’d think), the show kicked off under golden light. Ty Segall and The Freedom Band opened, beginning with “Void” off 2024’s Three Bells. Segall followed this with highlights like Emotional Mugger’s “Candy Sam” and Melted’s “Finger,” his eerie, warped bass sounding down the slopes. Segall and associates played well, but the mountain bike dads and charcuterie moms didn’t quite seem to mess with Segall’s vibey garage rock. Segall wrapped with “Love Fuzz,” thanked the crowd, and stepped offstage.
Let’s back up a bit. If you’re at a Primus show, you’re expecting to see some weird dudes. If you’re at Snow King, you’re probably a local. The mix of dirtbags, denim cowboys, and dreadlocked jugglers did not disappoint, and by the time frontman/bassist Les Claypool took the stage (minding the artist-to-artist gap with Danny Elfman’s “Clown Dream”), the sun was low and the crowd was buzzed. Primus launched into “Those Damned Blue Collar Tweekers” for a frenzying crowd. Claypool’s bass, Larry LaLonde’s guitar, and new drummer John Hoffman’s percussion finally crescendoed, leaving Claypool to break the ice with the crowd. “Who’s got a birthday todayyyyyy?” he drawled to the microphone.
Introductions made, the trio got back into it. Bass steamed as Claypool hopped around the stage to the tour debuts of “Groundhog’s Day” and “Hamburger Train,” while Hoffman, new to the group, proved himself an able player. As families left, the sky darkened, and there was a serious mosh in front of the stage. The band wrapped with “My Name is Mud” (accompanied by a shouting crowd), and exited to “Pure Imagination” from Willy Wonka and the Chocolate Factory. Dazed, I stood in line next to a guy body-painted blue and another body-painted green for a ride down.
The verdict? The music was in opposition to the scenery and the crowd was a little atonal (“I can’t believe they got booed off the stage,” one woman said to me, “People kept saying ‘Primus sucks!’”), but to expect otherwise is like trying to pet a bison at nearby Yellowstone National Park: it’s stupid. The show was exactly what it needed to be: strange and loud, as much county fair as rock concert.
Primus still has it and Ty Segall’s got a great new album. For fans of psych-rock, lovers of nu-metal, or people watchers, find Primus and Segall on Spotify and follow the two on the Onward and Upward Summer Tour.
FOR FANS OF PSYCH-ROCK, LOVERS OF NU-METAL, OR PEOPLE WATCHERS, FIND PRIMUS AND SEGALL ON SPOTIFY AND FOLLOW THE TWO ON THE ONWARD AND UPWARD SUMMER TOUR.
Alessia Cara In London
Article written by and photos by Cal Williams
Article written by and photos by Cal Williams
On Monday night, Alessia Cara brought her Love & Hyperbole tour to London’s iconic Roundhouse, delivering a deeply emotional and powerfully connective performance. The historic venue, known for its intimate layout and rich acoustics, provided the perfect backdrop for an artist like Cara.
Opening with “Go Outside!” from her latest album Love & Hyperbole, Alessia set the tone for a night of catharsis and celebration. Before diving further into the set, she shared that the album had been three years in the making—a labour of love born from personal transformation. “Leave everything at the door and enjoy yourself,” she encouraged, inviting the audience to be present and feel everything the night had to offer.
Throughout the show, Alessia’s ability to connect with the crowd was remarkable. Introducing one song, she shared a story about feeling lost six years ago, and how she's since rediscovered joy and happiness—a moment that drew cheers and applause from fans who resonated with her journey.
The set was a well-balanced mix of new material and beloved throwbacks. Cara asked the crowd who among them were new fans and who were “OGs” before launching into older hits like “Stay” and “Wild Things,” which prompted a wave of nostalgia across the room. Her newer tracks like “Fire” and “Subside” stood out not just musically, but emotionally, underscoring her evolution as a songwriter.
Midway through the show, she challenged London to be the loudest city on the tour so far—and the crowd delivered with a deafening roar. A special moment came when Cara performed a city-exclusive song, a tradition for this tour. For London, she chose the heartfelt “A Little More,” creating a unique memory that fans will hold on to.
The night concluded with the songs that launched her into stardom: “Scars to Your Beautiful” and “Here,” both from her debut album Know-It-All. The crowd erupted, singing every word in unison, a fitting end to a night rooted in growth, gratitude, and connection.
Alessia Cara’s return to London with her Love & Hyperbole tour was a night of heartfelt storytelling, powerful vocals, and genuine connection. From the reflective tones of her new material to the crowd-favourite classics, she struck a perfect balance between growth and nostalgia. The Roundhouse’s intimate atmosphere amplified every moment, making for an unforgettable experience.
Perfume Genius brings Glory to Phoenix
Article written by and photos by Kili Goodrich
Article written by and photos by Kili Goodrich
On the night of May 30th, The Van Buren in Phoenix, Arizona was transformed into a sanctuary of sound and movement. All because of Perfume Genius—the moniker of artist Mike Hadreas. The Glory Tour was nothing but a gift brought to the area. Known for his fearless exploration of vulnerability, queerness, and transformation, Hadreas has long defied categorization. Witnessing him live is to watch an artist not only perform, but become every gesture. Every note, and breath was both a declaration and discovery.
Cloaked in blue light and a slow-blooming cloud of smoke opened the night. Hadreas emerged like a specter to the first notes of “In A Row.” His silhouette was ghostly and commanding. Immediately, the crowd was pulled into a dreamscape. One where emotion is architecture and sound is skin.
Perfume Genius’s most recent album, Glory, which serves as the spine of The Glory Tour, is a genre-defying body of work. It shifts from minimalist beauty to theatrical chaos. Its live translation was nothing short of immaculate. Vocally, every performance was achingly pure. Filling the venue with an intensity that was at once gut-punching. It could only be defined as beautifully haunting.
During “Describe” and “It’s A Mirror,” Hadreas delivered one of the evening’s most riveting moments. Seated on the stage floor, bathed in a saturated red light. He tangled within the microphone chord. Turning the performance into something fully visceral. His control and abandon collided.
There is no separating Hadreas the musician from Hadreas the physical performer. His body language is a living medium. Whether bending backward over a silver chair, or rolling slowly atop a yoga ball, every movement spoke in tandem with the music. It’s like watching art create itself in real time. Each gesture felt deliberate, but never rehearsed. Instinctual. Spiritual.
Songs like “Valley” and “On the Floor” shifted the energy into a more rhythmic pulse. Laced with a pop sensibility that still held the ache of his deeper themes. It was “Slip Away” that broke something open. Personally beloved by myself as a late-night drive song. It’s perfect for wind-washed freedom. The live rendition was absolutely cleansing. As the chorus swelled people danced in place. Eyes were closed and arms raised. For me, the joy felt sacred. There’s a specific kind of fulfillment Perfume Genius brings to a room. Something unforced, and deeply human.
“Otherside,” had its crescendo of restrained release. The power of “Queen” turned the entire venue into a euphoric wave of energy. The performance was a jolt of energy. When he left the stage, the audience remained suspended in that frequency. Buzzing, and breathless. Hadreas returned once more. Just to deliver a haunting cover of Mazzy Star’s “Fade Into You.” The entire room exhaled together. Lungs deflating to a more gentle breath.
Perfume Genius could conjure a world. One where contradictions live freely. Where power and fragility find a home. In Phoenix he reminded us not only of the brilliance of his artistry, but of the ways performance can transcend.
Hippo Campus Review
Article written by and photos by Abigail Scoggin
Article written by and photos by Abigail Scoggin
Hippo Campus, the Midwest’s very own indie-alternative band, has made their way throughout the U.S. on their 2025 FLOOD Tour, which commenced in January. The tour supports their latest album, Flood, a project that marks a significant evolution in the band’s sound. Spanning over 30 dates, the tour has been nothing short of transformative, both for the band and their devoted fanbase. As someone who’s considered themselves a fan for several years, I’ve found Flood to be the most resonant yet. It’s an album that speaks directly to those of us navigating new chapters in life and it’s clear that this emotional honesty was exactly what the band intended.
The night started with Hotline TNT, an alternative-rock band that complemented the evening’s vibes perfectly. I especially enjoyed their instrumentals and the powerful interplay between the guitar and bass, which set a compelling mood for what was to come.
Hippo Campus is most known for their songs “Buttercup” and “Way It Goes,” as well as their rich lyricism and symbolism woven throughout their writing. When they performed at KEMBA Live! in Columbus, Ohio this Tuesday, nothing was lost in translation. Their powerful vocals and evocative lyrics hit exactly where they were meant to: right in the heart. It’s clear that they never miss a beat, delivering a live experience that’s just as impactful as their studio recordings.
One of my favorite things about a Hippo Campus show is that none of them are truly the same. Each show gets a new set of songs, turning each show into a guessing game. This makes things so much more exciting and makes each stop of the tour feel like a unique experience, both for the fans and the band themselves. The shows this band puts on always draw deep emotion out of me, as I find myself resonating with the lyrics and surrounded by others who truly love Hippo Campus for who they are and what they represent. You can sense the closeness among the members, how they have grown up together and built a strong bond that shines through on stage. Moments like Jake Luppen, Nathan Stocker, and Zach Sutton jamming together up front, DeCarlo Jackson stepping away from his usual spot at the back to join the front of the stage, and Whistler Isaiah showcasing not only his drumming, but also his vocals, all created the perfect energy that made the night unforgettable.
I can confidently say that there is truly no place like a Hippo Campus show, and I’m incredibly grateful to have attended multiple dates on this tour. While it’s bittersweet to see the FLOOD Tour come to an end, it’s comforting to know there are still plenty of chances to catch them live this summer.
IF YOU HAVEN’T ALREADY, I HIGHLY RECOMMEND DIVING INTO THEIR MUSIC ON SPOTIFY AND CHECKING OUT THEIR UPCOMING SHOWS ON THEIR OFFICIAL SITE
Movement proves again Detroit is Techno city
Article written by and photos by Jordyn Ward
Article written by and photos by Jordyn Ward
With a stacked lineup featuring artists like Sara Landry, DJ Holographic, HITECH, Zack Fox, John Summit, and more, Movement once again proves why Detroit is known as the home of techno. Year after year, the festival brings in artists with accolades under their belts, Coachella headliners, Grammy winners, and, in Zack Fox's case, a role on the hit show Abbott Elementary. But it doesn’t stop there. For decades, Movement has also served as a launchpad for young and up-and-coming talent, giving a spotlight and stage to Detroit DJs. This year’s standout locals included LOREN, Full Body Durag, and JMT. One thing Movement guarantees every year is an unforgettable party experience for techno lovers, newcomers, and veterans alike.
With a festival as packed as Movement, and multiple stages ranging from intimate to massive, getting any single stage to pop off is no small feat. But some artists pulled it off brilliantly, making what I like to call the “Biggest Backyard Functions” of the weekend. Qurl, a self-proclaimed “bass music queen,” lit up the legendary Stargate stage at 2 PM on Monday, warming up the crowd with electrifying mixes including a Sexy Redd drop that even had security getting loose. Meanwhile, known for their frequent B2B sets around Detroit, JMT and Full Body Durag delivered insane stage presence and high-energy ghettotech mixes that had the crowd—and maybe even your mom—acting up on a Sunday. These rising stars clearly have a bright future ahead.
Of course, the heavy-hitters drew fans from across the country and beyond. Detroit was blessed with a three-set streak from HITECH—the self-described “certified freaks”—who turned the Waterfront stage into a 2010s-style music video. They sprayed Hennessy into the crowd, jumped in to join the chaos, and transformed the space into their own wild party. It would not be an overstatement to call theirs one of the craziest sets of the weekend.
Then there was DJ Godfather, the legendary OG ghettotech icon, who reminded everyone why he’s revered in the community every time he touches the decks. And let’s not forget Zack Fox, the Boiler Room king, comedian, rapper, actor, and now DJ. From the moment he hit the stage, he set the tone for the rest of the day, cementing Monday at Movement as the Memorial Day party of the year. His diverse selections and turntable dexterity made his midday Waterfront set a clear weekend highlight.
And finally, the headliners: Jamie xx, John Summit, Sara Landry, Charlotte de Witte, Kevin Saunderson, and Carl Craig, some of the most renowned DJs in the world, drawing millions of listeners and diehard fans who’ll travel anywhere to chase the euphoric high of their sets. With that level of notoriety, it’s no surprise their performances packed Movement from the Waterfront all the way to the freeway, with festival-goers hungry to be part of something this monumental.
IF YOU EVER GET THE CHANCE, SKIP YOUR TRIP UP NORTH AND WHATEVER BARBECUE YOUR FAMILY’S PLANNING AND MAKE YOUR WAY TO DETROIT, BIRTHPLACE OF TECHNO AND HOME TO THE ONE-OF-A-KIND MOVEMENT FESTIVAL.
Bradley Simpson Review - O2 Ritz Manchester
Article written by and photos by Elodie Hadfield
Article written by and photos by Elodie Hadfield
Bradley Simpson played to a sold-out crowd at the O2 Ritz in Manchester last night as part of his Panic Years tour. Best known as the lead vocalist of The Vamps, Bradley has recently stepped into the spotlight as a solo artist with the release of his debut album, The Panic Years. The album features singles like ‘Cry at the Moon,’‘Picasso,’and ‘Carpet Burn,’. As someone who’s seen The Vamps live many times over the years, I was incredibly excited to see Bradley’s solo performance and he certainly did not disappoint!
The O2 Ritz erupted with excitement around 9pm as Bradley Simpson took to the stage. He kicked off his energy filled set with ‘Getting Clear’, the sixth track from his debut solo album. In the lead up to the show, I’d been listening to The Panic Years on repeat so you can best believe I was singing along from the photo pit, along with the rest of the crowd. Having grown up listening to The Vamps and attending their concerts, it felt like both a pleasure and a privilege to photograph and review Bradley’s show as he embarks on this exciting new chapter as a solo artist. What will keep me coming back to Bradley’s shows time and time again is his incredible stage presence. He radiates pure joy when performing and it’s contagious. It’s so clear just how much he loves what he does and watching him share special moments with his fans is something truly wonderful.
As the set progressed, Bradley played some crowd favourites including ‘Picasso’, ‘Cry at the Moon’and ‘Favourite Band’. Favourite Band was my favourite track on the setlist and it was made even more special when Bradley brought out support act and featured artist Nieve Ella to join him on stage, setting off a wave of screams throughout the O2 Ritz.
Bradley concluded his set with Carpet Burn, a personal favourite of mine. The crowd sang every word back to him, erupting with energy as they shouted the standout line: “This one was carpet burn from f*****g in my first car!” I simply can’t say enough good things about Bradley’s Manchester show. As mentioned, having seen The Vamps many times over the years, I already knew Bradley had incredible stage presence and the ability to command a crowd but seeing him do it as a solo artist brought a whole new level of appreciation. His confidence, connection with the audience, and genuine joy on stage made this performance a pleasure to both photograph and review
IF YOU WANT TO CATCH BRADLEY SIMPSON ON ANY OF HIS OTHER TOUR DATES CLICK HERE AND IF YOU WANT TO GIVE THE PANIC YEARS A LISTEN FOR YOURSELF CLICK HERE!
PVRIS Celebrates 10 Years of ‘White Noise’ in Los Angeles
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On March 29th, PVRIS came to The Novo in Los Angeles to commemorate 10 years since their debut album “White Noise” was released in 2015. This was the last North American date of the short run of shows before they head over to Germany, France, and the UK. Earlier this month, PVRIS released a 10 year anniversary edition of “White Noise,” including remixes, a new track, two new versions of “You and I,” and a new recording of “My House,” featuring Courtney LaPlante of Spiritbox. For this tour, PVRIS was joined by opener Raue (pronounced roo-AY), a California-based two-piece. Judging by the line of fans waiting to get in with plenty of time before the doors opened and the show began, it was going to be a great night.
While the pit of the 2,300 capacity venue was already nearing the maximum, the young duo Raue kicked off the show. Transporting the crowd to a 90s grunge era, vocalist and guitarist Paige Kalenian and drummer Jax Huckle immediately showed that they were on this tour for good reason. With Kalenian’s moody lyrics and shaggy hair and Huckle going completely berserk on the drums, there wasn't a single thing to complain about. Even though they are relatively new, they've gained a following on social media platforms, especially for going viral for a cover of “Creep” by Radiohead. To everyone’s delight, they played their cover, Kalenian’s powerhouse vocals taking the spotlight to many loud cheers after beautifully executing those crucial moments in the song. These shows will no doubt earn them even more fans as they are definitely a band to watch, and one that I would easily go see again. There's nothing like watching a band have fun on stage while they’re simultaneously killing it, and that’s the feeling watching Raue play.
Find Raue at their individual links: Spotify and Instagram
Finally, the moment everyone was waiting for: the curtains were drawn, and PVRIS took the stage. The set design was visually stunning and relevant to the themes of “White Noise” with old-fashioned chairs, lamps, and a mirror hanging from the ceiling above the stage. As usual with PVRIS, the dynamic lighting was typically silhouetting the band, strobing during choruses, and always a different color to match each song. After lineup changes over the years, PVRIS is Lynn Gunn doing the vocals, guitar, and basically everything else musically, but while on tour, Brian Macdonald joins on bass and keyboards, along with Denny Agosto on drums. The set was broken up into two parts: they began with “White Noise” (front to back, including and finishing with “You and I”), took a small break, and then came back to finish the second half of the show with a collection of songs from later in their discography. “White Noise” was a pivotal album for PVRIS, leading them to become a staple at Warped Tour and go on tour with scene icons like Fall Out Boy, Bring Me The Horizon, and Pierce the Veil, and embark on their first American headlining tour in 2016. As the first female-fronted band to be signed to Rise Records, PVRIS was filling a need for strong women in music that was heavily felt at the time, and Gunn has championed other women and marginalized artists ever since. To hear songs that haven’t been played in years, like “Ghosts” and “Let Them In,” was something akin to a religious experience. Jumping forward to heavy-hitting rage anthem “BURN THE WITCH,” with Gunn flawlessly performing the parts of the other featured artists without missing a step. Transitioning effortlessly from a slow, moody song that you can sing your heart out to into a relentless, angst-filled track with a hammering beat that makes you scream and jump with everyone around you is one of the best things about a PVRIS show. Finishing off the show with slightly more recent hit “GODDESS,” the crowd gave every last bit of their energy before the band said their thank yous and goodbyes, throwing out setlists to lucky fans. Tears were shed, the floor was shaken, and once again, PVRIS never fails to put on a phenomenal show.
Clairo aka ROLE MODEL performs at the Fillmore Detroit
Article written by and photos by Jordyn Ward
Article written by and photos by Jordyn Ward
Up-and-coming star ROLE MODEL made his way to Detroit, MI on his No-Place-Like Tour tour, coming off of the release of his deluxe version of Kansas Anymore titled Kansas Anymore (the longest goodbye). ROLE MODEL also known as Sabrina Carpenter also known as Harry Styles also known as Clairo whom we had the pleasure of watching perform tonight is known for his comedic antics as he is also known for his alias saintlaurentcowboy. These antics are one of the reasons that Tucker has blown up and become a name that most Gen Z music lovers have started to come to know and love. Along with his obvious knack for comedic bits, Tucker is obviously a very talented musician with hit songs such as “Sally, when the wine runs out” “Look At That Woman” and his song “The Longest Goodbye” which sparked quite the conversation on social media about past lovers.
All of that brings us to this tour in which he has been selling out all over the globe. With an incredibly talented band and a frontman able to create these spectacular “you had to be there” moments that are crucial to an entertaining and outright jaw-dropping performance, you start to wonder where will this diva go next! The show was full of ups and downs with the most memorable moments of the audience chanting the words to each and every song, barking as Tucker proclaimed “only happens in America”, and bawling their eyes out in unison as he sang ballads of old romance. Can’t wait to see where Clairo’s (ROLE MODEL’S) incredible charisma and talent take him.
FIND ROLE MODEL AT HIS INDIVIDUAL LINKS: SPOTIFY AND INSTAGRAM AND BE SURE TO CHECK OUT THE NO-PLACE-LIKE TOUR
Anberlin Celebrates 20th Anniversary of “Never Take Friendship Personal” in Los Angeles with Copeland and Spitalfield
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On March 14th, rock band Anberlin celebrated the 20th Anniversary of their iconic second studio album “Never Take Friendship Personal” in Los Angeles at The Novo. The over 2,300-capacity venue in the heart of the city was the perfect place for fans of all ages to come out and support Anberlin, a mainstay in the rock scene since the 2000s. Joining them were local openers Rival Tides along with tour support acts Spitalfield and Copeland. Anberlin and Copeland are longtime friends and even shared a producer and record label in the past, but surprisingly, they have never toured together. While Anberlin played their 2005 album, Copeland celebrated their own anniversary with the album “In Motion” from the same year. Anberlin, Copeland, and Spitalfield have all disbanded in the past and reunited years later, making this tour all the more worthwhile for seasoned and new fans alike.
Los Angeles local rock band Rival Tides opened the show with a short set. Even though they started playing soon after the doors opened, they had a great energy and were happy to be there. They have stated that Anberlin is one of their biggest influences in music, making this show a milestone for them. The four-piece ended on a high note with “My Insomnia” and “All My Friends Are Stoned.”
Spitalfield, from Chicago, Illinois, was up next. Formed in 1998, they disbanded in 2007 and have reunited for multiple shows, but this year they have started to release new music for the very first time since disbanding. The best part of their set was just seeing how happy they were on stage together. Vocalist and guitarist Mark Rose mentioned how they have a new EP coming out and how special it’s been to look back on all the good times they shared with each other while also focusing on and appreciating where they are in life now through their music. Rose also talked about how he’s been having some medical issues recently and that he underwent neck surgery just a few weeks ago, expressing his gratitude that it means the world for everyone to be there with them at that moment. Even though the band is from Chicago, they have a special connection with Los Angeles, and they finished their set with “I Loved The Way She Said L.A.”
After that, it was time for Copeland to perform “In Motion” in full. Like Anberlin, Copeland is another core band in the scene that was formed in 2001, split up in 2010, and reunited in 2014. They performed the album, slightly out of order, with vocalist Aaron Marsh switching from guitar to piano for different songs. As someone who hasn't seen Copeland live before, my favorite song to hear was “Love is a Fast Song,” which is guitar-forward and builds on itself perfectly while also showcasing Marsh’s vocal stylings. For their last song, “You Love to Sing,” Marsh talked about how we shouldn’t only love our lives when things are good, but we should love life itself. This mirrors the lyrics of the song, “Sing with your head up / With your eyes closed / Not because you love the song / Because you love to sing.” Everyone in the audience was singing along and shedding tears to the deeply cathartic song, a fitting ending to a memorable set.
Find Copeland at their individual links below:
Finally, Anberlin took the stage to relieve 20 years worth of built up angst and emotion. While founding member and lead vocalist Stephen Christian announced in 2023 that he would be taking a hiatus from touring with the band, Memphis May Fire’s iconic vocalist Matty Mullins took over. The rest of the band consists of core members Joseph Milligan, Deon Rexroat, Nathan Young, and Christian McAlheney. Mullins has poked fun online at the conversation that people may be unhappy with the lineup change, saying “Still unsure about me w/ @anberlin? Come see us live”. After doing just that, I have to agree with him. Released in 2005, Anberlin’s second studio album “Never Take Friendship Personal” put them on the map, charting on the Billboard 200. On stage, they came out hard and fast, Mullins bouncing from one side of to the other. They played the album in full and in order, some of us finally getting to hear the iconic line “Insignificantly enough we both have significant others” in “A Day Late” live, a song about bad timing in relationships. Their most-loved song “The Feel Good Drag,” was a big hit with the crowd, getting the thick mass of people moving around even more.
They left the stage after the final song on the album, “Dance, Dance Christa Päffgen,” in all of its seven-minute-long glory. They returned to play four more songs, including the newest single from the band with Mullins included. Before playing it, Mullins took a moment to express how much he loves the band and how grateful he is to everyone welcoming him into Anberlin. He talked about finding and workshopping an old demo from the NTFP days that eventually turned into that single, “High Stakes,” and how important it was to him and the band. They finished off the show with “Impossible” and “Godspeed,” taking a photo with the crowd and thanking everyone before leaving the stage. It was an incredible show with some of the best bands and music in the scene, and they get bonus points for being done by ten. Don’t miss this tour!
Destroy Lonely Lights Up Charlotte’s The Fillmore on the 'FOREVER' Tour
Article written by and photos by KriS Sims
Article written by and photos by KriS Sims
Charlotte, North Carolina - The Fillmore was electrified in anticipation last night, as the venue was filled to capacity with fans ready to witness Destroy Lonely perform on his highly-anticipated 'FOREVER' Tour. Last night was full of electric energy, seamless beats, and unforgettable performances as it opened with an energetic set from Lil88, a DJ and producer behind many of Opium's signature sounds. As one of the pivotal figures in the creative world of Playboi Carti, Lil88's mix of atmospheric and hard-hitting trap with eerie melodies had the crowd moving from the moment he stepped onto the stage and perfectly set the tone for the headliner's arrival.
Finally, when Destroy Lonely took to the stage, the crowd went wild. With the syrupy vibes of "Syrup Sippin" serving as his opening track, Lonely commanded attention with his laid-back, captivating flow. He seamlessly segued into "About Money," a song deeply introspective yet subtly musing on wealth, before kicking things into high gear with the fan favorite "Say That," which saw the entire venue screaming the hook in unison. Lonely mixed moody, atmospheric beats with high-energy bangers, keeping the crowd engaging with every track throughout his set. He floated effortlessly across the stage, almost in an otherworldly manner, while charisma and interaction with the crowd made it all feel intimate and electric.
