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.
FIND DESTROY LONELY AT HIS INDIVIDUAL LINKS: SPOTIFY AND INSTAGRAM. WHENEVER YOU GET A CHANCE BE SURE TO CHECK OUT DESTROY LONELY TICKERTS FOR THE “FORVER TOUR”
Enter Shikari Sets Los Angeles On Fire
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On November 9th, British rock band Enter Shikari played the last show of their biggest headline tour to date with You Me At Six and Yours Truly. The event took place at The Belasco in downtown Los Angeles, a historic theater with a capacity of 1,500. What was the final show of the tour would also be the final show You Me At Six would ever play in North America, as they are disbanding following their last UK tour next year. Enter Shikari and You Me At Six are longtime friends but had never toured together until now.
To kick off the show, the Australian pop-punk band Yours Truly played a short but highly energetic and fun set. The three-piece currently consists of vocalist Mikaila Delgado, guitarist Teddie Winder-Haron, and drummer Henry Beard. Delgado talked about how special You Me At Six was to her, and that she definitely used to run a Tumblr blog dedicated to the band, so this was quite a full-circle moment. They brought out Josh Franceschi, You Me At Six’s vocalist, to perform the song he’s featured on, “Hallucinate” (which is possibly only the second time it’s been performed that way live). Yours Truly recently released sophomore studio album “TOXIC”, which they played a few songs from including their closer, “Call My Name”. There were more than a few die-hard fans in the pit screaming every word of each song they played. The Australian band clearly can’t come to the US often, and most of the crowd was not familiar with them, but they absolutely left the stage with some new fans that night.
Next up was You Me At Six, English rock band from Weybridge, Surrey. The band consists of lead singer Josh Franceschi, guitarists Max Helyer and Chris Miller, bassist Matt Barnes, and drummer Daniel Flint. In February 2024, the band announced that they would be embarking on a farewell tour to celebrate their 20th anniversary and will break up in 2025, when the tour is over. They have released six studio albums and one live album, received notable awards from publications such as Kerrang! and Rock Sound, have sold out headline tours, and have had several top ten albums on the UK Albums Chart. You Me At Six may have been supporting on this tour, but they are an iconic band who have churned out bangers for the better part of the last 20 years. By the way that the fans showed up for them in Los Angeles, they may as well have been headlining the show. They started the set off with fan-favorite “Room to Breathe”, from their 2014 album “Cavalier Youth”. Franceschi later mentioned how much they love LA, and that’s where that particular album was made. Before playing “Bite My Tongue”, one of their heavier songs, Franceschi talked about what YMAS and Enter Shikari have in common: they both love a mosh pit. Next, Rou Reynolds, vocalist of Enter Shikari, came on stage to perform “No Future? Yeah Right” the song he is featured on from “Truth Decay”, the last album from YMAS, released in 2023. Before playing “Night People”, Franceschi asked for the lights to be turned off and for the crowd to light up the room with their flashlights. He expressed how much everyone meant to him at that moment and said “the only thing in this room is love and acceptance” before singing the emotional song, with misty eyes in the audience. The crowd was louder than ever for “Underdog”, one of their most beloved songs, followed by “Beautiful Way” the last song they would ever play in that venue, city, country, and continent. I could feel the love and the sadness of the moment all the same, and I am so glad we were able to experience You Me At Six one last time.
Find You Me At Six at their individual links below:
The night was still going, and everyone was fired up to see Enter Shikari finish off the tour. The British band consists of lead vocalist and keyboardist Rou Reynolds, guitarist Rory Clewlow, bassist Chris Batten, and drummer Rob Rolfe. The eccentric band doesn’t concern themselves with fitting into a box musically, and has a wide range of elements from post-hardcore to electronica. Their lyrics delve into the personal and political, and are not just a noise band. When seeing Enter Shikari, one moment you might feel like you’re at a sweaty hardcore show, the next it might be a rave or even a poetry slam. To start off, Reynolds took the stage by himself to perform the spoken word intro track “System...” immediately followed by the entire band joining him for the subsequent “...Meltdown”, from their 2012 album “A Flash Flood of Colour”. It’s hard not to feed off the energy of Reynolds throwing his body around the stage at every chance he gets. A crowd favorite and personal highlight of the set was a remix version of “Goldfǐsh ~” from last year’s album “A Kiss for the Whole World”, with an introduction by Reynolds saying “we are here to control pitch and tempo in order to manipulate your emotions”. The band recently released companion album to AKFTWW, “Dancing on the Frontline”, this year, including new remixes and live sessions of songs from the album. Another favorite was “Losing My Grip”, which went incredibly hard live. During an acoustic version of “Juggernauts”, Reynolds broke out two impressions of Bob Dylan and Johnny Cash, which were spot-on. The band left the stage after “The Dreamer’s Hotel”, when a pre-recorded call-and-response message motivated the encore chanting. Enter Shikari came back out to play “(pls) set me on fire”, most-played hit “Sorry You’re Not a WInner”, and finished with “A Kiss for the Whole World x”. Enter Shikari is a band that doesn’t care about labels or fitting in; they take big swings, and it makes for the perfect live show.
Julien Baker Sells Out The Bellwether in Los Angeles
Article written by and photos by Natalie Ryan
Article written by and photos by Natalie Ryan
On October 25th, Julien Baker played the first in a nearly sold-out run of four shows at The Bellwether in Los Angeles as part of her solo 2024 tour. What began as two nights at the venue quickly turned into four, the first three completely selling out. Baker brought along a different direct support act for each Los Angeles show (FIGHTMASTER, Medium Build, Kevin Devine, and Enumclaw), with Katie Malco as additional support.
British indie rock artist Katie Malco began the show with a low-key set, just her and her guitar. She made the crowd laugh with her deadpan humor and nonchalant attitude. Her captivating voice carried easily through the venue, enchanting the audience. She played the recently released song “Babette”, saying she named it after a girl she barely met once, but the song isn't about her. Despite somewhat of a medical emergency happening halfway through her last song, during which she stopped and the person in distress was helped, she finished strongly and left a good impression on new fans.
Next up was FIGHTMASTER, the solo project of non-binary musician and actor E.R. Fightmaster, best known for portraying a neuroscientist in seasons 18 and 19 of Grey’s Anatomy. With a full supporting band, FIGHTMASTER could’ve easily been the band headlining the night the way they were killing it. E.R. only began FIGHTMASTER last fall, releasing their debut EP “Violence”. Since then, multiple singles and a second EP, “Bloodshed Baby” have been released. The band had incredible energy and sounded even better. To close out their set, they played their flawless, chilling, and totally unique cover of Heart’s “Barracuda”, an absolute thrill to experience live.
Find FIGHTMASTER at their individual links below:
Finally, it was the moment everyone was anticipating. Julien Baker’s band came out before her and began with “Over”, transitioning into “Appointments”, which Baker ran on stage to sing. From Memphis, Tennessee, Baker is a singer-songwriter and guitarist also known as a member of indie rock supergroup Boygenius, along with Phoebe Bridgers and Lucy Dacus. Her songs often revolve around addiction, faith, love, and mental illness. Being an unapologetic lesbian and Christian from the south, her music reaches a myriad of people that don’t feel like they have any representation. I wasn't sure at all what to expect from a Julien Baker show, but I was blown away by her talent, the band, and the production.
If at any time there was silence in between songs, someone from the crowd would shout some variation of “we love you!”. Several people were dressed up for Halloween as well, with a Grimace front and center at the barricade. Baker mostly played songs from her last album, “Little Oblivions”, released in 2021, including “Crying Wolf” which she played on the keyboard, a highlight of the set. The majority of the show she was playing her floral guitar, and when she wasn’t singing she was flipping her hair and going crazy during the big breakdowns. Before leaving the stage, she played “Hardline”, a devastating song about substance abuse and imposter syndrome. After a short break, Baker and her band came back to perform “Everybody Does” as the final encore song. The crowd was louder than ever with it, finishing the night with a bang.
THE DRIVER ERA in Brussels
Article written by and photos by Sabine de Graaf
Article written by and photos by Sabine de Graaf
On Sunday, October 6th, it was time for THE DRIVER ERA to take over La Madeleine in Brussels, Belgium. This show marked the halfway point for the ‘X Girlfriend Tour’ for the band. Supporting them were almost monday and Your Favorite Color, both from California, USA. The 1500-capacity show had been sold out for months, with nearly 500 fans looking for a ticket on resale sites.
At 6:30 PM the doors finally opened to the fans, who had been eagerly waiting outside the venue for hours, some of them since 6 AM. Thirty minutes after doors it was time for some music, with Your Favorite Color first up on stage. They started their set with ‘What I Need’, instantly filling the venue with their energy. During ‘Stained’ vocalist Matt Warren jumped down the stage and stood on the barricade to get closer to the crowd. Matt took a moment to thank THE DRIVER ERA for taking them on this tour, which is actually their first tour ever. The crowd was loving every second of their set, eagerly participating and clapping along. For ‘Time Only Stops When You Come Around’ the whole venue lit up with flashlights. Their set was over way too quickly, leaving the fans wanting more.
Not long after the first set ended, the next band took to the stage: almost monday. This indie pop trio is from San Diego, California, and released their debut album ‘DIVE’ nearly two weeks ago. Once again the crowd was dancing along, which honestly was hard to not do to their music. Vocalist Dawson Daugherty is an amazing frontman, who knows how to entertain the crowd and warm them up for the headliner of the evening. After ‘tidal wave’ Dawson thanked Ross and Rocky for bringing them along and putting them in front of the best fans. While it might be October and fall is in full swing, almost monday brought us back to summer days with their feel-good music, with songs like ‘sunburn’ and ‘you look so good’.
After two amazing support acts that warmed up the crowd, THE DRIVER ERA was up to keep the good vibes going. The band consists of brothers Rocky and Ross Lynch, joined live on stage by bassist Riker Lynch, keyboardist Garrison Jones, percussionist Ellington Ratliff, and drummer Dave Briggs. Just before they started, Rocky was heard through the speakers telling the crowd they could win a meet and greet after the show if they signed up for the raffle they do at every show. Fans immediately grabbed their phones to sign up. When it was finally time to start, only Ross and Rocky came out on stage for ‘OMG Plz Don’t Come Around’ to kick off the evening.
While the spotlight might have been on Ross most of the time, the fans in Brussels started chanting Rocky’s name, giving all the attention to him. They then got treated to the unreleased song ‘I’ll Be There’, which mostly has Rocky doing the vocals. A piano rolled out on stage and it was time to slow it down. Garrison sat down behind the piano and Ross, Rocky, Riker, and Ellington gathered around him. They sang ‘Heart of Mine’, with Ross doing the lead vocals and the rest joining in with backing vocals.
The band left the stage for a second and filled the venue with rain/thunderstorm sounds. In the dark Ross took off his shirt, which resulted in loud screams from the fans. The stage was lit up in rainbow lights for the next song: ‘Fantasy’. As a last song before the encore, they played ‘Preacher Man’, which is THE DRIVER ERA’s debut single that came out back in 2018. The fans screamed along loudly to this one, enjoying every second and singing along every word.
SWEAT is in the air in Nashville
Article written by Emily Chavarie and photos by Henry Redcliffe
Article written by Emily Chavarie and photos by Henry Redcliffe
There’s no doubt that the SWEAT tour was one of the most highly anticipated tours of pop music this year. The stadium was abuzz with energy from blocks away - hordes of lime green, black, and silver-clad patrons journeying through the nightly crowd of cowboy boot-wearing country fans out on Broadway (It was easy to tell who was going where). Sunglasses on indoors, glitter, and chunky chains were quite literally everywhere.
Charli opened her portion of the show with the dramatic drop of a curtain - the iconic brat green - revealing herself donning a wedding veil, white body suit, and knee-high boots, paying homage to Nashville’s reputation for bachelorette parties. You can feel Charli’s energy from across the arena - She exudes confidence, and it was a party from the get-go. I have never seen that many people jumping and singing along to every word - Charli’s music is visceral. In between songs, she slithers across the clear catwalk, the camera person catching her drooling at them from below. She opens “Vroom Vroom” with a gut-wrenching scream. The crowd and Charli have a rapport, exhibited during songs like “Guess” when they scream the word back and forth at each other. All of it is raunchy and it feels like reality.
Troye was a perfect complement to Charli, the two taking turns singing and occasionally joining forces on songs they’ve worked on together, like “1999” and “Talk Talk featuring Troye Sivan”. The trading-off of the microphone gave the show so much movement - it mimicked the way that a supportive friendship comes with a give and take. Troye’s vocal chops are impressive: He belts out ballads while executing sharp choreography and being lifted into the air by several of his chiseled backup dancers.
The stage was dressed in an industrial aesthetic with scaffolding and a cage underneath the catwalk. Flashing lights and fog bring you straight to an underground rave. Both pop icons had several costume changes, set pieces, and strapped in when a portion of the stage hoisted them up toward the roof of the arena.
THERE ARE ONLY SIX MORE SHOWS ON THE SWEAT TOUR AND IF YOU WERE LUCKY ENOUGH TO SNAG TICKETS, IT’S A SHOW THAT YOU WON’T WANT TO MISS.
Lil Tecca's Free Show at Royal Oak Music Theatre Brings Energy and Awareness to Clean Jobs
Article written by and photos by Jordyn Ward
Article written by and photos by Jordyn Ward
Lil Tecca lit up the stage at the Royal Oak Music Theatre in a free concert sponsored by Tradesforce, combining electrifying performances with a powerful message about the future of clean jobs. Held as part of an initiative to raise awareness about career opportunities in green industries—such as electric vehicles (EV), battery technology, and sustainable building—this unique event effortlessly blended entertainment with education.
The evening kicked off with a stellar performance by local artist Polo2Times, who set the tone for the night. His energy and presence were impressive, getting the crowd hyped for what was to come. Polo2Times showcased local talent while helping build anticipation for the headliner.
When Lil Tecca finally hit the stage, the crowd erupted. He performed fan-favorites like "Ransom" and "500 Lbs" as well as newer tracks, creating a mix that kept both long-time fans and newer listeners engaged. His charisma and connection with the audience were undeniable, making every moment feel special. Tecca’s smooth transitions between songs and constant interaction with the crowd added to the high-energy atmosphere in the intimate setting of the Royal Oak Music Theatre.
But what set this concert apart was its underlying message. Between sets, the concert included brief but impactful discussions about clean jobs in growing fields like EV production, battery technology, and green building. Tradesforce’s involvement was key here, seamlessly integrating information about sustainable careers without disrupting the flow of the concert. It was a perfect balance of fun and purpose, showing how the music industry can be a platform for raising awareness about important societal issues.
Overall, this was more than just a concert. It was a lively, engaging event that combined music and awareness, introducing the next generation to the abundance of opportunities in the clean job sector. From Polo2Times' local flavor to Lil Tecca’s headline-grabbing performance, the night was a win both for music lovers and for those interested in a sustainable future.
The Aces Unforgettable Show at The Majestic Theatre in Detroit
Article written by and photos by Jordyn Ward
Article written by and photos by Jordyn Ward
The Aces concert at The Majestic Theatre in Detroit on the 18th of September was nothing short of electric. This four-piece band, known for their dreamy blend of bedroom pop and rock, brought a sound reminiscent of The 1975 and The Japanese House, filling the venue with an infectious energy. The crowd, buzzing with excitement, was treated to a night that felt like a celebration of queer representation and musical excellence.
Opening the night was Crepe Girl, a two-piece band making their Detroit debut. They impressed the crowd with their fresh sound and confidence, showing off an eclectic mix of their original songs. But what truly lit up the room was their cover of SZA’s “Snooze,” which perfectly set the tone and had the audience vibing. For an opener, they did more than warm up the crowd-they made a lasting impression.
From the moment they took the stage, The Aces had the audience in the palm of their hand. Their performance was tight, polished, and brimming with emotion, showcasing their musicianship and ability to connect with their fans. Hits like "Girls Make Me Wanna Die" and "I've Loved You For So Long" got the crowd singing along, while the fan favorite “Suburban Blues” struck a perfect balance between heartache and euphoria. The setlist was a fantastic mix of upbeat anthems and more intimate moments, giving fans the full range of The Aces’ dynamic sound.
All in all, the night was a high-energy, inclusive celebration of music and identity, with both The Aces and Crepe Girl delivering unforgettable performances. The Aces’ ability to make every fan feel seen and heard while delivering flawless musicality proves they’re a band to watch as they continue to carve out their space in the indie pop-rock scene
McFly at Barton Aerodrome Review
Article written by and photos by Elodie Hadfield
Article written by and photos by Elodie Hadfield
McFly closed their series of outdoor shows for the summer with an incredible and energetic performance at Barton Aerodrome, Manchester the other evening. McFly are a pop-rock band who formed in the UK in 2003 and have been my favourite band to watch live for years now! I have seen them a total of seven times and they always put on the best, most energetic and feel good show and this concert was no exception.
The typical British weather attempted to dampen the spirits of the crowd by opening the heavens around two hours before McFly were due to take the stage. However, the rain certainly did not stop the crowd from having the best evening full of singing and dancing, even if the field was very muddy. Screams of excitement filled the field when YMCA kicked in, McFly’s opening song for every show. Shortly after, Danny, Tom, Dougie and Harry ran onto the stage with bundles of excitement, ready to put on a classic McFly show full of energy.
The band kicked off their set with “Where Did All the Guitars Go?” from their most recent album “Power to Play” and you best believe I was singing along in the photo pit, with the rest of the crowd. I have grown up listening to McFly, because my parents love the band, and being able to photograph and review their shows is such a pleasure and a privilege. One of the reasons I'll always watch and support McFly is because their performances are simply so full of energy and the band always look as though they are having the time of their lives on stage which creates such a feel good atmosphere at all of their shows.
As the set progressed, the band played some crowd favourites including “One for the Radio”, “Star Girl” and “Room on the 3rd Floor”. It’s safe to say the crowd were loving every minute, singing every word back at the band. I always love that there’s such a range of people who attend McFly concerts. There’s often lots of families where it’s the children’s first concert, groups of friends and couples go together and the range of ages in the crowd really shows McFly is for everyone. Whenever I go and see McFly, I always go with my mum and dad and it’s such a lovely evening to share together as a family.
McFly concluded their set with “Red” and “Forever’s Not Enough”. “Red” is a personal favorite of mine and I love that Danny jumped down from the stage for the song and sung out to the crowd from the barriers, making the night very special for the group of women at the front of the Golden Circle. The closing song of the set was, of course, “Five Colours in Her Hair”. As the McFly logo turned rainbow on the screen, the whole crowd erupted with screams as the guitars started playing one of McFly’s most famous hits.
I simply can not say enough good things about McFly and their Barton Aerodrome show. As always it was a pleasure to watch the band live, doing what they so obviously love to do and it was a true privilege to photograph and review their show. Having seen them seven times over the years aha, I can most definitely say if you love shows full of energy and fun, McFly are the band for you!
IF YOU WANT TO CATCH MCFLY LIVE BEFORE THE END OF THE YEAR, YOU’RE IN LUCK! TO CELEBRATE THE BAND’S 21ST BIRTHDAY, MCFLY ARE PLAYING TWO DATES AT THE O2 LONDON (OCTOBER 9TH AND OCTOBER 10TH). CLICK HERE TO BUY TICKETS.
NIKI review
Article written by Michael Jason Perez and photos by Natt Lim
Article written by Michael Jason Perez and photos by Natt Lim
The end of summer has a way of clinging to the air, a subtle shift that signals the twilight of something fleeting. This feeling hung over The Anthem in Washington, D.C., like a bittersweet haze as NIKI took the stage. The venue was packed with fans who came to be transported by her voice, but there was an undeniable sense of something slipping away as the night wore on.
NIKI, with her delicate yet powerful vocals, delivered a performance that felt like a tender farewell to the season. With her new album “Buzz”, her setlist was a carefully curated journey through moments of nostalgia and heartache, each song pulling the audience deeper into the emotional landscape she crafts so well. Tracks like “Did You Like Her In The Morning” and “Paths” seemed to resonate with particular poignancy, their lyrics echoing in the vast space, almost as if they were a collective reflection on the passing of love, like the changing of seasons from summer to fall.
The stage itself was bathed in soft, dusky lighting—purples, pinks, and blues blending together like the last light of day before nightfall. It was a visual representation of the emotions in the room, a mix of beauty and melancholy that complemented NIKI's soulful performance. When she played “Buzz,” there was a moment of stillness as if the entire crowd was holding its breath, savoring the last notes of the song, and perhaps the last days of summer love itself.
As the show came to a close, there was a collective sense of longing in the air. The audience lingered, as if reluctant to step back into the reality that awaited outside the doors. NIKI’s performance was more than just a concert; it was a gentle reminder of the ephemerality of moments, of memories that fade, and of feelings that linger long after the last note has been played. The night at The Anthem was a beautiful, melancholic ode to the end of summer, one that left everyone with a quiet ache and a heart full of tender memories.
CATCH THE REST OF NIKI’S TOUR HERE. HERE ARE LINKS TO HER INSTAGRAM AND SPOTIFY. GIVE A LISTEN TO HER NEW ALBUM “BUZZ” HERE.
Friday Of Leeds Festival
Article written by and photos by Elodie Hadfield
Article written by and photos by Elodie Hadfield
After attending Leeds Festival for the past three years, I knew it was time to take my camera and photograph my favourite festival. Leeds Festival always falls on the August Bank Holiday weekend and is known for bringing in an impressive list of headliners as well as supplying music for everyone. Whether rock n roll or hip-hop is your thing, or maybe you love all things pop, Leeds Festival will have you and your music taste covered.
This year Leeds Festival changed up their stages and layout. The most prominent change was the removal of the Main Stage West and the introduction of the Chevron Stage. The Aux Stage was also a new addition to the Leeds Festival map this year, which should have showcased some amazing guests such as The Useless Hotline (Max Balegde and George Clarke) and Antics With Ash (Ash Holme).
Leeds Festival had six stages this year. However, the British weather had different ideas, and due to the horrendous winds, three out of the six stages had to close on Friday 23rd August. This included the Aux Stage, BBC Radio 1 Stage, and the Chevron Stage. The Aux Stage and the BBC Radio 1 Stage remained closed throughout the duration of the festival.
However, the Leeds Festival team worked incredibly hard to ensure as many artists as possible who were scheduled to perform on Friday got to perform at other times throughout the rest of the weekend. Artists such as Seb Lowe, Ashnikko, and Skrillex were all able to perform on the Saturday of the festival, making many festivalgoers very happy!
After the Leeds Festival team gave everyone the all-clear, festival-goers were able to head into the arena around 2 pm on Friday 23rd August. The first artist of the day was Bru-C. Bru-C is a British rapper and is known for his drum and bass and rap music. After a long morning, Bru-C was the perfect artist to hype up the crowd ready for the rest of the day!
After Bru-C’s set, I headed over to the BBC Introducing Stage to catch the incredible Alessi Rose. Alessi Rose was a new name to myself but I came away from her set definitely a fan! Alessi creates the exact type of music I’d listen to and, as I’m writing this, I’m listening to my personal favourite song of hers “eat me alive” I also have to mention how much I LOVED Alessi’s outfit for her performance. The bloomers and little graphic vest were the perfect festival outfit!
After fuelling up on some cheesy chips, I headed back to the BBC Introducing Stage to watch something a bit different. The Rap Game UK is a British TV show which is hosted by DJ Target, Krept and Konan and follows their journey into finding the next big rap star. The BBC Introducing Stage was graced by the six incredible contestants from the show as they performed an energetic track they had written themselves. The whole set was recorded for the show and I can certainly say the crowd absolutely loved the contestant’s performance!
Later in the day, I saw music from both Venus Grrrls and Michael Aldag. Venus Grrrls are an alternative rock band and definitely brought loads of energy to their performance! Grace Kelly is the lead singer of the band and her vocals were incredible. Michael Aldag took to the stage shortly after Venus Grrrls. Being a lover of TikTok, I had of course seen Michael on social media already but I hadn’t heard his music before so I was super excited to see his set. It’s safe to say Michael didn’t disappoint. The crowd was singing along to every word and Michael performed with so much energy and he had an incredible stage presence!
Finally, the act I was most excited about seeing took to the Main Stage: Catfish and the Bottlemen. I have wanted to see Catfish live for years and wow they were amazing! They kicked off their set with “Longshot” and the crowd was ecstatic that the band were back where they belonged performing on the main stage at Leeds Festival after their break. The energy coming from the crowd was incredible as the whole of Bramham Park sang the words back at the band.
As the set progressed, Catfish played so many of my favourites including “Pacifier”, “Fallout” and “Homesick”. They concluded their amazing, energy-filled set with two crowd favourites “7” and “Cocoon”. After seeing Catfish and the Bottlemen at Leeds Festival I need to see them live again! They currently have two UK dates scheduled for 2025. If you’re interested click here to see where and when Catfish and the Bottleman are playing next.
Concluding the Friday of Leeds Festival was Liam Gallagher. Liam played the entirety of the Oasis album “Definitely Maybe” which the crowd absolutely loved! A couple of the crowd favourites were “Rock n Roll Star”, “Supersonic” and “Live forever”. Liam Gallagher was the perfect finish for Day 1 in Bramham Park.
