Mike Goodrick Turns Mixed Signals Into Pop-Punk Hooks on “Try”

Phoenix, AZ — If “Songs I Still Skip” marked Mike Goodrick’s return to original music after more than 15 years, “Try” shows that return gaining momentum. Released July 31, this Phoenix artist’s latest single pairs bright pop-punk hooks with lyrics rooted in mixed signals, emotional uncertainty, and the perspective that comes with looking back.

“‘Try’ is about being treated like someone’s almost. The person who got the late-night calls, the mixed signals, the big feelings, but not the commitment. Then they turn around and give someone else everything they said they weren’t ready for.” – Mike Goodrick

Alongside his original songs, Goodrick performs emo and pop-punk favorites at intimate venues across Arizona several times a week. He launched the all-request series Acoustic Emo Night in the Valley and has since built an enthusiastic community of listeners still hungry for these sounds.

Goodrick’s renewed focus on original material marks a different chapter from the live cover performances that have kept him active in Arizona’s music scene. His solo songs sit at the intersection of emo, pop-punk, and acoustic singer-songwriter music, pairing familiar genre touchstones with where he is creatively today.

Phoenix pop-punk artist Mike Goodrick smiling in front of a dark brick wall, wearing a black striped shirt, white T-shirt, black pants, and sneakers.
Phoenix pop-punk artist Mike Goodrick
Photography: Suzy Goodrick Photography

“It’s nostalgic, but it’s also adult. It’s about the way old songs, old relationships, and old versions of yourself can still follow you around,” Goodrick says.

“A song can take you right back to a relationship, a friendship, a heartbreak, or a version of yourself you barely recognize anymore,” he says about the content within his music. “My music lives in that space between looking back and moving forward. It’s about old memories that still have teeth.”

That tension between looking back and moving forward also runs through “Try,” where nostalgia is filtered through the perspective Goodrick brings to those experiences now.

“I’m someone who stepped away from original music for a long time,” Goodrick says. “I’m now finally writing and releasing again from a more mature perspective.”

Dashboard Confessional, Mayday Parade, and Knox are among the artists Goodrick cites as inspirations, but his own songs are grounded in experiences and perspectives that are distinctly his.

Phoenix pop-punk artist Mike Goodrick posing in front of a dark brick wall, wearing a black striped shirt over a white T-shirt.
Phoenix pop-punk artist Mike Goodrick channels the catchy, vibrant sound that once defined youthful angst into music shaped by where he is now.
Photo Credit: Suzy Goodrick Photography

Before his next release arrives, Arizona fans can catch Goodrick live at Cider Corps in Mesa on August 28 and Dark Sky Brewing in Flagstaff on August 30.

For More Show Dates & New Releases, Follow Mike Goodrick:

Featured photo (top) by Suzy Goodrick Photography

August 2026 Edition: Upcoming Concert Picks in Arizona

A bold, curated list of upcoming shows with quick links for tickets and details, plus a featured album worth checking out.

August 2026

Social Distortion event image

Social Distortion

Tue · Aug 25, 2026 · 7:00 PM

  • Phoenix, AZ — Arizona Financial Theatre

Classic riffs, classic attitude.

September 2026

October 2026

REVIEW: Evanescence, Spiritbox, & Nova Twins Deliver a Powerful Feminine Storm in Phoenix (7-15-26)

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PHOENIX — On the dusty, windy night of July 15, 2026, two storms brewed in Phoenix: one from the desert’s monsoon season threatening dust and rain, and the other a lineup of powerhouse female vocalists taking over Talking Stick Resort Amphitheatre. Evanescence, a headliner needing no introduction to anyone who has listened to rock radio in the past 20 years, was supported by the ferocious Spiritbox and the electrifying Nova Twins. This was a millennial-fueled rock-girl dream lineup, mixing a legendary heavy hitter with two openers that have been making huge moves in the last decade. If there were any doubt about the draw, the lines wrapping around the venue for parking and entry made it undeniably clear.

Nova Twins

Nova Twins began their set as crowds were still wrapped around the venue and into the parking lot, but their sound carried well beyond the amphitheatre’s walls. They were impossible to ignore, even from the security lines. The duo may have been a familiar name for some, but for those unfamiliar, they wasted no time making a lasting impression. 

Amy Love of Nova Twins smiles at the microphone with a black electric guitar strapped across her body, both arms raised wide under red stage lighting, with a drum kit behind her
Amy Love, vocalist and guitarist of Nova Twins, throws her arms wide while commanding the stage at Talking Stick Resort Amphitheatre in Phoenix on July 15, 2026.
Photography: Mark Greenawalt © All Rights Reserved

Vocalist and guitarist Amy Love and bassist Georgia South delivered a fierce, tightly controlled performance, pairing heavy bass-driven distortion with a commanding stage presence. Even in the final portion of the set, their energy took hold and demanded full attention. Seated a few rows back from the stage, I relied on a colleague photographing the performance for a few of the finer visual details.

Nova Twins bassist Georgia South performs with an animated, open-mouthed expression while holding her bass upright under red stage lighting, with a drum kit behind her
Georgia South, bassist of Nova Twins, delivers an animated performance beneath red stage lighting in Phoenix.
Photography: Mark Greenawalt © All Rights Reserved

Touring drummer Jake Woodward was positioned off to the side while Love and South worked every inch of the stage available to them. Both utilized extensive pedalboards, along with a unique ring-controlled system that allowed for real-time manipulation of bass and synth effects. Their setup, paired with a more compact stage footprint, contrasted with the larger productions to follow, yet never felt lacking. 

Nova Twins touring drummer Jake Woodward performs behind a large drum kit, raising both drumsticks mid-strike beneath red stage lighting.
Jake Woodward, touring drummer for Nova Twins, strikes the kit with focused intensity beneath vivid red stage lighting.
Photography: Mark Greenawalt © All Rights Reserved

Before they finished their set, I already had them pulled up and added to my playlist. Their infectious, loud, fun, and impossible-to-ignore energy set the spark for a triple-stacked lineup packed with talent.

Spiritbox

As the set change began, the skies darkened and lightning flickered in the distance, setting the perfect scene as Spiritbox prepared to take the stage.

Red and white lights flashed as the band took their positions on stage. Vocalist Courtney LaPlante reached toward the sky before the drop into “Black Rainbow,” opening a twelve-song set featuring several tracks from their 2025 sophomore album, Tsunami Sea.

Courtney LaPlante stands at a microphone with both hands lifted high above her head and fingers spread, framed against a dark stage with faint purple lighting.
Courtney LaPlante, lead vocalist of Spiritbox, holds the audience’s attention with an expressive gesture and commanding presence at center stage.
Photography: Mark Greenawalt © All Rights Reserved

LaPlante carried a noticeably stronger confidence throughout the performance than when I’ve seen her before, sauntering around the microphone stand before stepping to face the crowd and unleashing her signature screams. 

Low-angle close-up of Courtney LaPlante singing into a microphone beneath deep blue lighting, one hand gripping the mic and the other resting on the stand as her long dark hair flows behind her
Courtney LaPlante, lead vocalist of Spiritbox, carries herself with assured control as the band’s set builds toward its heaviest moments.
Photography: Mark Greenawalt © All Rights Reserved

Throughout the set, LaPlante took moments to connect with the crowd, thanking them for sticking it out in the Phoenix heat and building anticipation for Evanescence. She told the audience that “Most of you have no idea what you’re about to see, but I think it’s going to be the best show you ever did see.” Before “The Void,” she took a moment to shout out Nova Twins, telling the crowd, “We love them, and this next song goes out to them.” 

Side-profile view of Courtney LaPlante singing at a microphone stand in an all-black outfit, with her long dark hair streaming dramatically behind her and red nails visible against the dim stage.
Courtney LaPlante, lead vocalist of Spiritbox, brings a fluid sense of motion and poise to the band’s dynamic performance.
Photography: Mark Greenawalt © All Rights Reserved

A mid-set break shifted the tone as LaPlante told the crowd, “We thank you for your time, and this is the part of the set where we dance,” building into “Sew Me Up,” with drumming and clapping pulling the crowd into the rhythm. Another playful moment came when LaPlante inducted the wind as the fifth member of the band, saying “it’s making us look really cool.” The way the gusts whipped through their hair and clothing added to the atmosphere in a way that felt like an intentional part of the show. 

Close-up of Mike Stringer playing a red guitar, his tattooed hand gripping the neck as warm stage light illuminates his face and a drummer appears softly blurred behind him.
Mike Stringer, guitarist of Spiritbox, channels focused intensity into the band’s tightly controlled performance.
Photography: Mark Greenawalt © All Rights Reserved

The playful energy of the show took a sharp turn after “Holy Roller” finished. The set was stopped due to a disturbance in the pit, spotted by drummer Zev Rose from his elevated platform which LaPlante referred to as him witnessing “the fuckery about”, prompting the band to halt the show. 

Zev Rosenberg sits behind an expansive drum kit, looking downward as cymbals surround him and an electronic percussion pad partially obscures his right side.
Zev Rosenberg, drummer of Spiritbox, drives the band’s intricate heaviness with concentration and precision.
Photography: Mark Greenawalt © All Rights Reserved

“We’re not going to play another song and this show is not going to continue til we make sure everybody out there is safe. So I need you guys to be tattletales – who’s the fucking freak who’s hurting everybody? Point them out.”  

When the crowd shouted the person had run off to the restroom, LaPlante responded “Well guess what fucker, we all saw you, we know where you are, and your ass is going to get kicked the fuck out.” 

The crowd began chanting “kick him out, kick him out” while LaPlante checked in on an audience member. The individual was escorted by security out of the venue to a chorus of boos. 

The band and crowd rallied after LaPlante reminded the audience to take care of one another then rolled into their final song, “Soft Spine.” Their performance balanced intensity, control, playfulness and a deep care for their fans.

View Spiritbox photo gallery below.

Evanescence

After a lengthy changeover that seemed to rebuild the entire set, Evanescence emerged to a dramatically transformed stage. The show was now framed by cathedral-like structures behind them, backlit in deep crimson, while smoke rolled across a newly slanted stage and drummer Will Hunt sat elevated at the center. From the moment they took the stage, the crowd was on its feet, with many remaining standing for the entirety of the set.

Emma Anzai plays a black bass beneath vivid red and magenta lighting, with tall cathedral-inspired arches glowing behind her and the drummer blurred in the distance.
Emma Anzai, bassist of Evanescence, brings a poised intensity to the band’s visually striking set.
Photography: Mark Greenawalt © All Rights Reserved

Opening with “Sanctuary,” the title track from their newly released album, they wasted no time establishing the tone for the night. Amy Lee stepped to the front of the stage with a presence that felt both commanding and beautiful, her voice cutting cleanly through the instruments. The set continued with the new album woven throughout the 21-song set, effectively playing it in full across the night. The sands of time have not dared to dull Evanescence’s flame.

Amy Lee sings into a handheld microphone while leaning backward, her long dark hair falling behind her against a softly lit purple and blue stage.
Amy Lee, lead vocalist of Evanescence, leans into a soaring vocal passage with palpable intensity.
Photography: Mark Greenawalt © All Rights Reserved

When the band shifted to “Going Under,” the energy surged, phones rose throughout the crowd as fans captured a treasured moment. The transition between older and new material was seamless, creating a setlist that moved fluidly across each era.

Amy Lee sings into a handheld microphone with her head tilted back, one arm extended and her long dark hair sweeping broadly to the side under red and purple stage lighting.
Amy Lee, lead vocalist of Evanescence, pairs vocal power with dramatic movement during the band’s performance.
Photography: Mark Greenawalt © All Rights Reserved

“Lithium” shifted the performance into an intimate space, with Lee seated at the piano under a cool white spotlight. The tone softened, but the emotional weight was heavy. That same intensity deepened during “Like You,” the one song from their second album release they had never played live prior to this tour. Lee’s voice soared above the distorted growls of the guitar, adding depth to her clarity.

Tim McCord plays an angular black electric guitar while leaning to one side in a black leather jacket and ripped jeans, illuminated by bright white and golden stage light.
Tim McCord, guitarist of Evanescence, reinforces the band’s sweeping sound with forceful, finely controlled playing.
Photography: Mark Greenawalt © All Rights Reserved

The production throughout the set elevated the experience above and beyond rock standards. Between massive screens, shifting visuals, and pyrotechnics, it felt surreal to be in the audience, part of this magic.

That atmosphere of magic carried into the night’s more personal moments, particularly when Lee addressed the crowd before “Forever Without You,” sharing that the next song was very personal to her:

“I wrote it about my life, my journey and me getting here but I realize how many people have been through something so similar so if the story I’m about to tell you, if some words that I say resonate with you and make you feel like you’ve been there before or you are there now please uh,” she laughed softly, “first of all, don’t be afraid. I know that’s easier said than done but second of all never regret love. I’m done regretting love! You’re not bad, you’re not stupid for loving someone. But you don’t have to stay.” She then promised, “It’s better on the other side.”

Her words hung in the air as she moved into the song, her voice deeply emotive as it danced with her piano accompaniment. Lee held notes with precision, sustaining them in a way that felt almost impossible for such a heavy and personal performance, drawing cheers of support from the audience.

Tight close-up of Amy Lee singing with her eyes closed and mouth open, vivid magenta eye makeup contrasting with her dark hair and black stagewear.
Amy Lee, lead vocalist of Evanescence, is captured in a moment of complete immersion at the microphone.
Photography: Mark Greenawalt © All Rights Reserved

That emotional weight quickly shifted into one of the most explosive moments of the night with their 2003 Grammy Award-winning debut single, “Bring Me to Life.” The entire venue came alive as the crowd sang along, matching the band’s energy. Everyone on and off stage was rocking out. Lee held out the iconic note on “dead” with striking control before calling on the audience to join her, hands raised as confetti rained down over the pit. Without pause, the band pushed forward into “Imaginary,” maintaining a level of stamina that never seemed to falter.

Amy Lee sings with her head tilted back, microphone raised above her mouth and one hand extended upward beneath soft white stage lights.
Amy Lee, lead vocalist of Evanescence, delivers an expressive performance with striking theatricality.
Photography: Mark Greenawalt © All Rights Reserved

A standout and favorite moment of the night came when Courtney LaPlante of Spiritbox, along with Amy Love and Georgia South of Nova Twins, joined Lee on stage for “Fight Like a Girl,” a track originally featuring K.Flay from the film Ballerina. The collaboration created what felt like a powerful, unified front at the edge of the stage, highlighting the strength of the female-fronted lineup. It’s hard not to want more from that combination.

“My Immortal” delivered one of the deepest, most nostalgic emotional moments of the night. The performance resonated throughout the crowd, bringing this millennial back to her teens, wiping away tears while watching Lee smile one of the biggest and most beautiful smiles of the night. She carried the moment with grace and sincerity.

Tight three-quarter close-up of Amy Lee singing into a black handheld microphone, her vivid pink eye makeup and long dark hair illuminated by warm yellow-green stage lights.
Amy Lee, lead vocalist of Evanescence, wears the song’s emotion openly, her expression conveying both vulnerability and resolve.
Photography: Mark Greenawalt © All Rights Reserved

The evening closed with “Wide Open Heart,” the band’s energy never fading as they pushed through the final moments of the set with the same intensity they opened with.

Will Hunt plays amid a large drum setup, his long blond hair falling across his face as cymbals frame him against a bright blue-and-white video backdrop.
Will Hunt, drummer of Evanescence, punctuates the closing stretch with an imposing presence from his elevated position.
Photography: Mark Greenawalt © All Rights Reserved

To call two-time Grammy Award-winning Evanescence and vocalist Amy Lee epic and legendary feels like only scratching the surface. The sheer force of the band, wielding their instruments like magicians time-traveling us through over two decades of beloved music, is an experience difficult to fully capture in words alone. Lee, alongside Emma Anzai, Will Hunt, Tim McCord, and Troy McLawhorn, delivered a performance that proves Evanescence continues to evolve while remaining exactly what fans have loved for decades and will continue to love for generations.

Photo Galleries

Photographer: Mark Greenawalt

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Photography © Mark Greenawalt.
All Rights Reserved

REVIEW: Metric’s “All The Feelings Tour” Brings Friendship, Community, & Canadian Good Vibes to Phoenix (6-17-26)

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PHOENIX — It’s always interesting how tours come together. By and large, most tours have a similar structure: interesting newcomer, established second band, and the headliner, with the lineup usually put together by the headliner’s management and approved by the headliner. What made Metric’s “All The Feelings Tour,” with support from Broken Social Scene and Stars, special was that it was put together by Metric and based on two things: long-standing friendship and Canadian indie-rock history, but mostly friendship. All three bands hail from Toronto and have spent decades as friends, collaborators, tourmates, and guests on one another’s albums. Their show at Arizona Financial Theatre was as much about community, friendship, and love as it was about the music.

Stars

Toronto-born and Montreal-formed band Stars opened the show with their beautiful brand of eloquent indie pop. Their set pulled from seven of their nine albums, but more importantly, it set the tone of fun and community for the night. Opening with “Hold On When You Get Love and Let Go When You Give It,” the band immediately established the themes that would define the evening: connection, compassion, and finding joy together. 

Torquil Campbell of Stars sings into a microphone under warm orange stage lights during the All The Feelings Tour.
Torquil Campbell of Stars sings under warm orange stage lights during the Phoenix show on the “All The Feelings Tour.”
Photography: Katherine Amy Vega © All Rights Reserved

Stars delivered a set that felt both intimate and celebratory, moving from the soaring “Build a Fire” and “Elevator Love Letter” to some fan favorites like like “Take Me to the Riot” from In Our Bedroom After the War and “Dead Hearts” from the fantastic The Five Ghosts album. At one point in the set, singer Torquil Campbell joked about performing Shakespearean monologues to kill time, adding a sense of warmth and playfulness that made us feel like part of a gathering of friends rather than the audience at a large concert. 

Torquil Campbell and Amy Millan of Stars sing toward each other onstage under purple lighting.
Torquil Campbell and Amy Millan showcase the co-lead vocal chemistry and emotional connection that have long made Stars such a beloved indie-pop band.
Photography: Katherine Amy Vega © All Rights Reserved

What has always made Stars special was on full display in the co-lead vocals of Campbell and Amy Millan. The two have a magic that manifests lush harmonies as their voices merge as one, creating songs that feel deeply personal while somehow belonging to everyone in the room. That shared emotional space was especially on the night’s standout performances of “Your Ex-Lover is Dead” and “Ageless Beauty,” songs that remain as moving now as when they were first released on their 2004 masterpiece Set Yourself on Fire

Amy Millan of Stars sings and plays guitar onstage under blue lighting.
Amy Millan of Stars brings warmth and emotion to the band’s Phoenix performance, balancing shimmering guitar with the expressive vocals that help define their sound.
Photography: Katherine Amy Vega © All Rights Reserved

Stars closed out their set with the joyous “No One is Lost,” complete with its call to the crowd to Put your hands up if you ever feel afraid, yeah/Until then, that will listen/No one is lost.” On this night, certainly, no one was lost because we had the music and we had each other. 

View full Stars photo gallery below


Broken Social Scene 

“Well, it only took us 26 years to finally get to Phoenix,” Broken Social Scene singer Kevin Drew said, opening the band’s set.

Kevin Drew of Broken Social Scene sings and plays guitar onstage.
Kevin Drew of Broken Social Scene performs at Arizona Financial Theatre, bringing the band’s communal indie-rock spirit to the Phoenix stop of the “All The Feelings Tour.”
Photography: Katherine Amy Vega © All Rights Reserved

On a night built on the idea of friendship and community, this group took the evening to another gear, as Broken Social Scene is as much a musical collective as they are a band. With the group’s membership ranging from as few as six to as many as nineteen, the current eleven members approach music like a neighborhood potluck, with each person bringing their own style to the mix and everyone making the pieces work together. They are chamber pop by way of a good-time neighborhood jamboree.

Andrew Whiteman of Broken Social Scene smiles while playing guitar onstage.
Andrew Whiteman of Broken Social Scene smiles through a guitar part, adding to the loose energy of the band’s Phoenix set.
Photography: Katherine Amy Vega © All Rights Reserved

Before going into their set-opener “Cause = Time” from their album You Forgot It In People, Drew told the audience “This tour is about friendship, and friendship is a form of protest so let’s do this!”

Jill Harris sings with Broken Social Scene, raising one arm under blue stage lights.
Jill Harris sings with Broken Social Scene, raising a hand as the band builds one of its richly layered live moments.
Photography: Katherine Amy Vega © All Rights Reserved

In a set that spanned all but their debut album and leaned heavily on their recently-released sixth album, Remember the Humans, Broken Social Scene created a party atmosphere that allowed moments not only for their eleven members, but also for their friends. Campbell and Millan from Stars came out for “Hug of Thunder,” “Only the Good I Keep,” “Texico Bitches,” and “Fire Eye’d Boy,” while Emily Haines and James Shaw from Metric joined for “Anthems of a Seventeen-Year-Old Girl” and “Parking Lot Dreams.”

Broken Social Scene’s horn section plays trombone and trumpet together onstage.
Broken Social Scene’s horn section brings a burst of brass to the set, adding punch, movement, and extra color to the band’s already expansive live sound.
Photography: Katherine Amy Vega © All Rights Reserved

Before closing their set with “KC Accidental,” Drew left everyone with this: “Phoenix, don’t let them weaponize community. Their tragedy will end.” It was a good reminder that our future can be one built on the ideas of friendship and love. That’s beautiful. 

View full Broken Social Scene photo gallery below


Metric

Headliner, tour masterminds, and Toronto-trio completists Metric understood the assignment on this Wednesday: “With the ‘All The Feelings Tour,’ we’re bringing Saturday to every show. This is Saturday night in Phoenix,” singer Emily Haines told the crowd just after their opening song “Victim of Love.” Their set was the complete deal: the music, their performance, and their stage show. It’s not just a band playing their songs, but a totally immersive experience. 

Emily Haines of Metric sings into a gold microphone while wearing a black leather jacket onstage.
Metric vocalist Emily Haines commands the stage with sharp focus and unmistakable presence during the band’s set.
Photography: Katherine Amy Vega © All Rights Reserved

Metric also knows how to give  their crowd an irresistible desire to dance. Their music moves through you. It gets you out of your seat and directs your body how to move. You don’t dance? Metric makes you dance. You hate dancing? Metric makes it what you want to do more than anything. You could walk into a Metric show as John Lithgow in Footloose and, within a few songs, you’re transformed into Kevin Bacon. 

Joules Scott-Key of Metric plays drums surrounded by cymbals and purple stage lighting.
Metric drummer Joules Scott-Key drives the band’s set from behind the kit, framed by cymbals and moody stage light.
Photography: Katherine Amy Vega © All Rights Reserved

Toward the end of the night, musicians from all three bands in the lineup gathered for a spirited performance of “Loyal.”  The night’s setlist could not have been better chosen. It felt like the perfect Metric mixtape, pulling from most of their albums and moving easily between  newer material from their just-released Romanticize the Dive, and  older songs like “Combat Baby” from their debut, Old World Underground, Where Are You Now? 

Emily Haines of Metric sings into a gold microphone under warm stage lighting.
Emily Haines (vocalist) channels the joy and purpose behind Metric’s set, leading into a moment that framed the night around music, feeling, and connection.
Photography: Katherine Amy Vega © All Rights Reserved

Haines articulated the night’s ethos: “Our sole purpose in the world is to bring good feelings into this broken-hearted world. We do what we can. You do what you can!” Metric and their supporting bands brought the energy, the feelings, and the music, and the crowd brought the dancing. We all did our part. 

Photo Galleries

Photographer: Katherine Amy Vega

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Each set linked above contains many additional images—view the full galleries for more.

Photography © Katherine Amy Vega, Kataklizmic Design
All Rights Reserved.

REVIEW: BOYS LIKE GIRLS Leave Marquee Theatre Love Drunk With iDKHOW & Arrows in Action (4-29-26)

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Tempe, Ariz. — Marquee Theatre buzzed with eager fans of all ages as BOYS LIKE GIRLS brought “The Soundtrack of Your Life Tour” to Tempe with I DONT KNOW HOW BUT THEY FOUND ME and Arrows in Action. Celebrating 20 years of their self-titled debut album and 17 years of Love Drunk, the night leaned into pop-rock nostalgia, full-room singalongs, and the kind of fan devotion that has followed the band across decades.

Arrows in Action Open With Pure Pop-Rock Joy

Arrows in Action frontman Victor Viramontes-Pattison plays guitar under purple stage lights during the band’s opening set.
Victor Viramontes-Pattison of Arrows in Action brings kinetic energy to the stage during the band’s opening set for BOYS LIKE GIRLS.
Photography: Katherine Amy Vega © All Rights Reserved

Arrows in Action frontman Victor Viramontes-Pattison skipped onto the stage to start the night with “Light Like You,” off their only-days-old release I Think I’ve Heard This Before. Royal purple light flooded the stage for their second song, “Over It,” to cheers and a visibly grooving crowd.

Victor Viramontes-Pattison sings into the microphone while playing guitar during Arrows in Action’s Tempe performance.
Arrows in Action vocalist Victor Viramontes-Pattison sings into the mic while playing guitar, carrying the band’s bright pop-rock energy into the night.
Photography: Katherine Amy Vega © All Rights Reserved

Viramontes-Pattison’s presence on stage mixed romance cover looks with a golden retriever energy. His hair fluttered, his hands animated while he maintained perfect vocal precision, matching their recorded tracks.

Arrows in Action drummer Jesse Frimmel smiles behind the drum kit with drumsticks raised during a live performance.
Drummer Jesse Frimmel of Arrows in Action smiles from behind the kit, reflecting the joy and momentum that drove the band’s set.
Photography: Katherine Amy Vega © All Rights Reserved

“Cheekbones” took us to places only we know, with drummer Jesse Frimmel shining a smile so pure it was clear from the dark, packed crowd as he hit the final beat.

Arrows in Action guitarist Matt Fowler performs near the front of the stage under vivid purple lighting.
Guitarist Matt Fowler of Arrows in Action leans into the band’s high-energy opening set, framed by vivid purple lights and a packed pop-rock atmosphere.
Photography: Katherine Amy Vega © All Rights Reserved

The entire band was magnetic, engaging their fans at every moment of their performance. At the end, they held true to their Spotify bio; the members of Arrows in Action were “just happy to be here,” and their joy was palpable.

View full Arrows in Action photo gallery below


iDKHOW Bring Playful Theatrics and Retro Swagger to Tempe

The vibe shifted with the moody grooves of I DONT KNOW HOW BUT THEY FOUND ME, leading us into a jewel-lit sea of purples, teal, and gold. We swam through the eclectic discography of Dallon Weekes’ previously hidden act, which he began before he left Panic! at the Disco in 2017.

Dallon Weekes of I DONT KNOW HOW BUT THEY FOUND ME sings into the mic, bringing the band’s moody theatricality into focus.
Photography: Katherine Amy Vega © All Rights Reserved

Weekes’ voice smoothly moves between soaring clean highs and sultry saunters, accompanying retro synth-laden jams with swooning guitars. The popular hit “Choke” was met with cheers and screams from the audience, and Weekes invited, “Oh, Arizona, won’t you please come and sit with me?” 

iDKHOW performs onstage as Dallon Weekes leans back with his guitar under blue concert lights.
I DONT KNOW HOW BUT THEY FOUND ME turns the stage into a dramatic retro-rock scene as Dallon Weekes leans into the moment with the band behind him.
Photography: Katherine Amy Vega © All Rights Reserved

During one song, Weekes draped the microphone cord casually above him, one arm behind his head, posing as the audience cheered in approval. “Leave Me Alone” had many playful moments. One member held his guitar low, mimicking a gun, and pretended to fire at the drummer, afterward tossing a pick at him. Another time, the guitarist attempted to balance his guitar on his head, but it eventually fell into his hands. While singing the lyric “A Brand New God,” the white spotlight rose and fell as purple pulsed.

iDKHOW guitarist Anthony Purpura performs under purple and green stage lights during the band’s set.
Guitarist Anthony Purpura of I DONT KNOW HOW BUT THEY FOUND ME cuts through the haze and colored lights during the band’s synth-laced set.
Photography: Katherine Amy Vega © All Rights Reserved

In the final moments on stage, Weekes exclaimed, “Holy shit! It’s a real-life saxophone,” which cued a saxophonist to the front of the stage for a solo, the guitarist and bassist greeting him with face-offs. The music faded, and Weekes exited the stage, exaggeratedly swinging his arms.

View full iDKHOW photo gallery below.


Often a time for bathrooms or boredom, the wait between I DONT KNOW HOW BUT THEY FOUND ME and BOYS LIKE GIRLS was instead filled with fans singing along to a playlist centered on millennial nostalgia. The lyrics of “Everytime We Touch by Cascada were sung by almost everyone in the venue. As gear moved and the stage was set, the crowd was bubbly, chatting, and friendly. The room carried some of the best energy I’ve experienced at a show.

BOYS LIKE GIRLS Prove They Are Still the Soundtrack of Fans’ Lives

BOYS LIKE GIRLS stage setup with vintage CRT televisions surrounding the drum kit during The Soundtrack of Your Life Tour.
CRT TVs glow across the stage before BOYS LIKE GIRLS begin their nostalgia-filled set on The Soundtrack of Your Life Tour.
Photography: Katherine Amy Vega © All Rights Reserved

Vintage CRT televisions lit up and rapidly flashed scenes of recognizable moments from the 2000s, and while there was audio, the words were lost in the roars of adoring fans greeting the members of BOYS LIKE GIRLS as they took their places on stage. A tambourine hung from frontman Martin Johnson’s neck like jewelry before he removed it to rhythmically bang against his hip, later he moved to maracas. On the third song, “She’s Got A Boyfriend Now” I noticed Jamel Hawke’s guitar and Gregory James’ bass and shoes were all matching in silver glitter.

BOYS LIKE GIRLS frontman Martin Johnson sings into a microphone with a tambourine around his neck.
Frontman Martin Johnson of BOYS LIKE GIRLS sings into the mic with a tambourine hanging from his neck like jewelry.
Photography: Katherine Amy Vega © All Rights Reserved

Directly afterward, the mood calmed as Johnson played an acoustic guitar for “Two Is Better Than One,” a track off their 2009 release Love Drunk featuring Taylor Swift. “Someone Like You” off the same album, began with the television’s screen filled with static, Johnson pointing into the golden spotlight while speaking the lyric “Talking to someone up there.”

BOYS LIKE GIRLS drummer John Keefe performs behind the kit surrounded by glowing CRT televisions.
Drummer John Keefe of BOYS LIKE GIRLS drives the set from behind the kit, framed by glowing TVs and the tour’s throwback visual design.
Photography: Katherine Amy Vega © All Rights Reserved

Johnson and James faced each other as they sang “Chemicals Collide”, the room full of energy, pumping arms and crowd surfing to the help drown from the Marquee’s security team. “Go” ended the set with soft, soulful vocals and fans emotionally swaying ’til the pick up. Hawke and James soloed together on one small platform. The song finished, they left the stage with the bright lights on like it was the end. 

A countdown began on the TVs. I noticed when it was at 9:30, stagehands balled up and tossed the setlists off the stage, returning later with fresh ones. Calm and twinkling music played as the final adjustments to the stage were made. BOYS LIKE GIRLS returned for an epic encore of their 2006 debut release Boys Like Girls

BOYS LIKE GIRLS frontman Martin Johnson stretches his arms wide onstage while holding maracas under blue concert lights.
Frontman Martin Johnson of BOYS LIKE GIRLS stretches his arms wide with maracas in hand, commanding the stage during the band’s nostalgia-filled anniversary set.
Photography: Katherine Amy Vega © All Rights Reserved

They played in album order, beginning with “The Great Escape,” their biggest hit, with the crowd louder than the band. “Five Minutes To Midnight” and “Hero/Heroine” continued the streak of the audience singing every word with their whole hearts, showing how accurate the tour name truly is.

BOYS LIKE GIRLS guitarist Jamel Hawke performs under red stage lights with vintage televisions behind him.
Guitarist Jamel Hawke of BOYS LIKE GIRLS performs under red stage lights as vintage screens flicker behind him.
Photography: Katherine Amy Vega © All Rights Reserved

Throughout the night, the side stage gradually filled with handpicked fans. During “Heels Over Head” Johnson’s team replaced his pick holder, only for him to find they were James’s bass guitar picks which lead to him saying something like “Fuck, these are Greg’s!” Throughout the rest of the night there were multiple moments of him forgetting, grabbing one, and throwing it to the floor.

During “Broken Man”, Johnson expressed his appreciation of years of support, stating, “Your voices have been the soundtrack of our lives for the last twenty-five years.” 

BOYS LIKE GIRLS frontman Martin Johnson smiles and waves from the stage during the band’s live performance.
Martin Johnson smiles and reaches toward the crowd, reflecting the deep fan connection at the heart of BOYS LIKE GIRLS’ anniversary tour.
Photography: Katherine Amy Vega © All Rights Reserved

The depth of the connection between BOYS LIKE GIRLS and their fans filled the room with genuine joy, deep love, and gratitude. The final goodbye of the night was the band giving their all in one more way. They tossed memory-soaked items from the stage, small tokens to be treasured from such an epic celebration. Boys may like girls, but we definitely love BOYS LIKE GIRLS.

Photo Galleries

REVIEW: Mariah The Scientist Lights An Eternal Flame On The “Hearts Sold Separately Tour” in Phoenix (4-1-26)

PHOENIX — Mariah the Scientist brought the “Hearts Sold Separately Tour” to deliver a vocally driven, nostalgia-filled performance rooted in intimacy and connection. Joined by Akia and 4Batz, the night unfolded as a cohesive R&B experience, balancing sensual tones with moments of high energy showmanship while keeping the focus on the music and the audience.

The “Hearts Sold Separately Tour” began in January and continues through its final U.S. headline dates on April 10, with additional headline shows in Australia in May. She’ll also play Honolulu, make festival stops including Roots Picnic and Governors Ball, and appear on select dates of Kali Uchis’ “For the Girls Tour” starting in late May.

Don’t Miss It: Buy Tickets

Mariah the Scientist “Hearts Sold Separately Tour” poster in pink and green, featuring a green toy-soldier style figure with “Now Enlisting” and “Join the Fight for Love,” plus a full list of 2026 tour dates (including Phoenix, AZ on April 1, 2026) and Live Nation branding.
Mariah the Scientist “Hearts Sold Separately” tour dates – Get Tickets

Akia and 4Batz Set the Tone

Akia opened the night with a smooth and atmospheric set that leaned into a sensual R&B sound. Her performance emphasized connection and gradually drew the crowd into the night’s slower and more intentional pace.

4Batz followed with a more performance driven set, incorporating background dancers that added movement and structure to the stage. His delivery carried a dynamic presence while maintaining the same R&B foundation. His viral track “Act II: Date @ 8” stood out as a key moment and drew one of the first strong crowd reactions of the evening.

An April Fools’ Moment Kicks Off Mariah’s Set

Mariah the Scientist’s set opened with a playful April Fools’ moment, as her cousin appeared on stage lip syncing to “United Nations + A Thousand Ways to Die.” Mariah soon emerged from the side, revealing the joke with a lighthearted “April Fools’, baby,” which immediately established a sense of personality and ease that carried throughout the performance.

Audience photo of Mariah the Scientist’s cousin onstage during the April Fools’ intro of the “Hearts Sold Separately Tour” in Phoenix at Arizona Financial Theatre, performing under pink stage lighting.
Mariah the Scientist’s cousin opens the show with an April Fools’ fake-out before Mariah takes the stage in Phoenix.
Audience photo by: Jasmyne Haskie

Hearts Sold Separately Themes Come to Life on Stage

As the set moved forward, the structure of the show began to reflect the emotional themes present in her fourth studio album Hearts Sold Separately (2025). The album’s imagery, often associated with love, detachment, and emotional protection, translated visually through soft pink tones across the stage, contrasted by green elements that mirrored the toy soldier motif seen in her album artwork. Mariah and her dancers wore coordinated green outfits, subtly reinforcing the visual contrast and tying the performance back to the album’s aesthetic. 

Mariah the Scientist performs in a green toy-soldier inspired outfit on the Hearts Sold Separately Tour at Arizona Financial Theatre in Phoenix, framed by a soft pink stage screen and her band in the background.
Soft pink visuals and Mariah the Scientist’s coordinated green look echo the Hearts Sold Separately album aesthetic at Arizona Financial Theatre in Phoenix.
Audience photo by: Jasmyne Haskie

Songs like “All of Me” quickly pulled the audience in, with strong singalongs filling the venue. Rather than relying on large scale production elements, the show placed emphasis on delivery and presence, allowing each track to stand on its own. This approach gave space for the emotional weight of the music to resonate more clearly with the crowd.

Wide audience photo of Mariah the Scientist performing on the Hearts Sold Separately Tour at Arizona Financial Theatre in Phoenix, standing alone under purple lasers and haze while the crowd watches and records.
A wide view of Arizona Financial Theatre shows Mariah the Scientist centered and isolated onstage as the crowd sings along, underscoring the show’s intimate, vocals-first feel.
Audience photo by: Jasmyne Haskie

Throughout the set, moments of interaction helped shape the overall experience. During “Not a Love Song,” Mariah paused to acknowledge the fans, telling Phoenix, “I like the vibe,” a brief exchange that reflected the mutual energy in the room. “Beetlejuice” and “Always and Forever” became standout crowd pleasers, with fans singing along in full, creating a shared atmosphere that extended beyond the stage.

Close-up audience photo of Mariah the Scientist singing into a microphone on the Hearts Sold Separately Tour at Arizona Financial Theatre in Phoenix, wearing a green outfit as stage lights fan out behind her.
Mariah the Scientist holds eye contact with the crowd during an intimate stretch of her Phoenix set.
Audience photo by: Jasmyne Haskie

The pacing allowed for shifts in tone without feeling abrupt. During “Good Times,” lighting transformed the venue with colorful effects that added contrast to the otherwise minimal stage design. Smaller details, including guitarist solos and brief choreography with her dancers, added variation while keeping the focus on the music itself.

Audience photo of Mariah the Scientist singing beneath purple, green, and blue laser beams as the crowd films on phones.
Colorful lasers and spotlights reshape the room during a lighting-heavy moment on Mariah the Scientist’s Hearts Sold Separately Tour stop in Phoenix.
Audience photo by: Jasmyne Haskie

Crowd Participation Becomes the Show

As the performance progressed, participation became more pronounced. During “All I Want” and “In Pursuit,” Mariah led a call-and-response that carried into “Like You Never,” with the crowd echoing back in unison. Later, during “2 You”, she raised two fingers in the air as the intro played, a cue that the crowd picked up on instantly.

Mariah the Scientist lifts her hands toward the crowd through pink-purple haze as fans raise phones and respond from the floor.
In a haze-filled moment, Mariah the Scientist gestures to the audience and the crowd answers back, reinforcing the call-and-response energy of the set.
Audience photo by: Jasmyne Haskie

The latter portion of the set leaned into nostalgia, with songs like “Brain,” serving as a clear acknowledgement of longtime listeners, leading into one of the night’s most defining moments. Mariah paused to take requests directly from the audience. Fans called out songs, and she selected tracks like “Church” and “77,” turning the set into a more collaborative experience and reinforcing the connection that had been building throughout the night.

She closed with “Burning Blue” and “Reminders,” ending the performance on a reflective note that aligned with the themes carried throughout the set.

Mariah the Scientist performs under deep blue stage lighting as the crowd watches and records on phones.
A blue-lit wide shot captures the late-set mood as Mariah the Scientist winds down the night.
Audience photo by: Jasmyne Haskie

Mariah the Scientist’s Arizona stop on the “Hearts Sold Separately Tour” offered a performance that extended beyond a standard concert format. Through cohesive visuals, intentional pacing, and direct audience interaction, the show reflected the emotional themes of her music while creating a shared experience within the room. The result was a performance that felt immersive, personal, and grounded in both artistry and connection.

May 2026 Edition: Upcoming Concert Picks in Arizona

A bold, curated list of upcoming shows with quick links for tickets and details.

May 2026

June 2026

Patti LaBelle portrait

Patti LaBelle

Sat · Jun 13, 2026 · 8:00 PM

  • Chandler, AZ — Gila River Resorts & Casinos – Wild Horse Pass
  • Legendary voice in an intimate showroom setting.

A bucket-list night for soul and R&B fans.

July 2026

EMM event image

EMM – The Dumb World Tour

Wed · Jul 15, 2026 · Doors 7:00 PM · Show 8:00 PM

  • Phoenix, AZ — The Rebel Lounge
  • 2303 E Indian School Rd., Phoenix, AZ

A midweek tour stop in one of Phoenix’s best small rooms.

August 2026

Social Distortion event image

Social Distortion

Tue · Aug 25, 2026 · 7:00 PM

  • Phoenix, AZ — Arizona Financial Theatre

Classic riffs, classic attitude.

September 2026

October 2026

REVIEW: Nine Inch Nails Peel It Back & Get Closer at Desert Diamond Arena (3-6-26)

High-angle view of Nine Inch Nails performing on a center platform under intense red lighting and smoke, with a suspended lighting rig overhead and a packed arena crowd surrounding the stage in Glendale, Arizona.
Nine Inch Nails turn the center-stage platform into a red-lit storm of fog and light.
Audience photo by: Katherine Amy Vega

PHOENIX — An impressive crowd gathered at the Desert Diamond Arena for opener Boyz Noize and the legendary Nine Inch Nails. Bass pounded through the speakers as the opening set welcomed attendees to a darkened room, with occasional red lighting shifting between the center of the room, a shrouded, large box-shaped object sitting in the growing sea of fans.

High-angle view of Nine Inch Nails performing on a center platform under intense red lighting and smoke, with a suspended lighting rig overhead and a packed arena crowd surrounding the stage in Glendale, Arizona.
Nine Inch Nails turn the center-stage platform into a red-lit storm of fog and light.
Audience photo by: Katherine Amy Vega

The room transformed as the walls were shed to reveal Trent Reznor playing the gentle notes to “(You Made It Feel Like) Home” (2022). His warm voice invites us into a feeling of intimacy while being surrounded by other fans in the shadows, gazing into the gold light holding him. The experience felt like I was the only one in the room, though when I looked, the arena had little room to spare.

Wide arena shot of Trent Reznor at a small center stage lit by a single white glow, surrounded by a dense crowd in near darkness.
Nine Inch Nails open the night with Trent Reznor alone at the center-stage rig as the crowd closes in around him.
Audience photo by: Ali Crimson

The band assembles and Josh Freese returns

The warm light became cold, brighter, and sterile as the music transitioned to “Non-Entity” (2007). Guitarist/keyboardist Robin Finck and bassist Stu Brooks appeared, coordinated in all black with Reznor, to loud cheers.

High-angle view of Nine Inch Nails performing on a small center platform surrounded by a packed arena crowd, with bright white stage light cutting through haze at Desert Diamond Arena in Glendale, Arizona.
Nine Inch Nails perform on the center stage as the crowd packs Desert Diamond Arena in Glendale, Arizona (March 6, 2026).
Audience photo by: Katherine Amy Vega

“Piggy” from the 1994 The Downward Spiral album followed, the lights shift back to gold, now a low glow this time with Reznor on his feet, bouncing with his finger to the ceiling signaling the room to bounce with him to the beat.

Close-up concert photo of Trent Reznor singing into a microphone on a dim, smoky stage, wearing a dark oversized jacket with in-ear monitors visible.
Nine Inch Nails frontman Trent Reznor grips the mic in a tight, moody close-up within the stage haze surrounding him.
Photo by: Sara Perez

The glow allowed the room to slip into darkness, leaving only a screen at the front of the room showing a drum solo that marked the entrance of newly returned drummer Josh Freese, starting only on the North American leg of the tour. The curtain that once showed Freese lifts, showing the entire band surrounded by sheer veils.

Black-and-white projection of a drummer playing fills large hanging curtains, with the arena around it mostly dark and silhouetted.
Nine Inch Nails project a stark black-and-white close-up of the drummer Josh Freese across the sheer curtains during the early set.
Audience photo by: Ali Crimson

Visuals as an instrument

Live projections of each band member are shown on the sheer curtains as the band blasts into “Wish” (1992). New visuals come with each song; “March of Pigs” (1994) is the first time soundwaves are projected. A dramatic piano piece guides the performance into “Reptile” (1994) a standout at the sixth song in their set, the introduction contrasting heavily, grinding with aggressively flashing green lights as white whips across the screens with the rise and falls of the music.

Side-angle view of the stage draped in translucent curtains, with green lighting and swirling black-and-white projections partially revealing the band while the crowd watches in the dark.
Nine Inch Nails perform behind shimmering sheer curtains as green light and abstract projections wash over the stage.
Audience photo by: Katherine Amy Vega

Peak intensity and set highlights

“If there is a hell, I’ll see you there,” Reznor sings to us in the foggy, red-lit arena, as the audience claps along with “Heresy” (1994). Lights flash chaotically as the lyrics “God is dead, and no one cares” echo into every inch of the space. Shifting away from the earlier chaotic lights, the room darkens to a single spotlight on Reznor, with smaller projections on the walls between the band members that look like a house of mirrors showcasing dancing white silhouettes of him performing “Copy of A” (2013) from Hesitation Marks.

Wide arena view of the band playing behind translucent drapes, with bright backlighting projecting large silhouettes onto the curtains and stage lighting rigs hanging overhead.
Nine Inch Nails perform behind sheer curtains as towering shadows and silhouettes ripple across the stage.
Audience photo by: Katherine Amy Vega

The energy high, beneath the red and blue flashing lights during “Gave Up” (1992), a small, seemingly friendly mosh pit begins on the floor level. The room is one with Nine Inch Nails, every moment seeming perfectly executed to the plan of long-time industry professionals.

Wide stage photo of Nine Inch Nails performing live in smoky yellow light, with the vocalist at a microphone, guitarist in the foreground, drummer at left, and lighting rigs behind the band.
Nine Inch Nails performing at the O2 Apollo Manchester on June 20, 2022.
Photography: aliina s. (CC BY 2.0), via Wikimedia Commons

Drowned in red and fog, almost by magic, Reznor has returned to the smaller center platform. Electric fuchsia zaps and flashes in the foggy clouds surrounding the stage as “Vessel” (2007), from Year Zero, pumps through the veins of every listener. The music surges beneath the skin.

High, wide arena view with a bright white glow and haze rising from the center stage, surrounded by a dense crowd, with a large side screen showing black-and-white live footage.
Nine Inch Nails ignite the center stage in a burst of white light as the crowd surrounds them.
Audience photo by: Katherine Amy Vega

The final stretch: “Closer” to the closing moments

Entering the final songs of the set list, the most popular song of Nine Inch Nails’ nearly 40-year career, “Closer” (1994) starts and engulfs the room in purple, fuchsia, and white, flickering to the heat of the music. The feeling this song gives is undeniable; the words are on the lips of everyone there.

High, wide shot of a packed arena with a small center stage surrounded by the crowd, as bright white beams cut through haze and cast rippling, curtain-like light patterns across sections of the audience.
Nine Inch Nails light up the center stage as rippling, curtain-like beams pattern the crowd.
Audience photo by: Katherine Amy Vega

“Parasite” (2010), originally by How To Destroy Angels (a band featuring Reznor and his wife Mariqueen Maandig Reznor) poured fresh green lights and fog down the room. The projections return with close-ups of Reznor, where I note a link chain around his neck I hadn’t noticed before. In this song, Trent Reznor’s vocals have a more digitized effect than in previous songs in the set.

Nine Inch Nails bathe the arena in red as sharp white beams cut through the haze over the center stage.
Audience photo by: Katherine Amy Vega

 “As Alive As You Need Me To Be” (2025), off the newest album TRON Ares: Divergence (a 24-track soundtrack for a movie of the same name) plays with coordinating white and red flashing lighting. The full band returns to play “Mr. Self Destruct” (1994) with the entire stage flashing, energy peaking — a song they had played so many times before, and it shows only with the smoothness of their performance. It is practiced to perfection.

Wide arena view after the sheer curtain lifts, with the full band visible through heavy haze and bright stage lights, while a large silhouette projection looms on a side curtain and the crowd cheers at the front rail.
Nine Inch Nails surge into the open stage as the curtains lift, flooding the room with light, haze, and towering silhouettes.
Audience photo by: Ali Crimson

“Less Than” (2017) raises the sheer curtains that provided the veiled cover for the entire show, signaling that it is one of the final three songs of the evening. This is the one and only time I believe Reznor plays a tambourine the entire show, which I did not expect.

“Head Like a Hole,” “Hurt,” and an unexpected interruption

The closing songs for the evening are fan favorites “Head Like A Hole” (1989), off Pretty Hate Machine, and “Hurt” (1994) from The Downward Spiral. “Head Like A Hole” is one of the most recognizable songs of the band’s extensive catalog, inspiring dozens of covers over the decades. 

Nine Inch Nails blast through a bright, blue-lit moment as Trent Reznor raises a hand to the crowd at Staples Center in 2013.
Photography: Al Pavangkanan (CC BY 2.0), via Wikimedia Commons

At the beginning of “Hurt”, a fight broke out in front of the stage. As it was yet to be broken up, Reznor stopped the song and spoke directly to the people saying, “Hey we’re not here for this shit man, hey HEY!! There’s enough bullshit happening out there, we don’t need it happening in the fuck here.” He turned, awaiting the resolution of the problem before continuing the performance after his very Dad-like scolding. 

Wide stage view with the band performing amid thick fog, diagonal light beams cutting across a wall of small lights, and a packed audience filling the foreground.
Nine Inch Nails push the full-band set into a haze of diagonal beams and drifting smoke as the crowd surges at the front.
Audience photo by: Ali Crimson

“Hurt” closed the show, giving us a finale of Reznor’s emotive lyrics and vocals to send us off into the night. There was no encore, and one wasn’t needed.

High-angle view of the arena after the concert, with the NIN logo projected on large hanging curtains as the crowd gathers and begins to clear the floor under hazy yellow light.
Nine Inch Nails leave the arena glowing as the NIN logo lingers on the curtains after the show.
Audience photo by: Katherine Amy Vega

Peeling back the decades

You would think this performance would be one of simple nostalgia, but the music felt as fresh as when I listened to each release by NIN throughout the decades. The professionalism of this show was unmatched, smoothly transitioning between stages like the members had teleportation powers. The industrial music coursed through my veins with a unique awakening, the memorized words flowing from my tongue. The Peel It Back tour is an apt title, as this set list peels back the layers of years, and it is new again.

REVIEW: Cat Power at Her Greatest for 20th Anniversary Show at The Van Buren (2-15-26)

PHOENIX — Cat Power (née Charlyn Marie “Chan” Marshall) took the stage at The Van Buren to celebrate the 20th anniversary of her landmark album The Greatest. What makes the concert a true triumph is the journey that led her here — setting it apart from the increasingly common anniversary album performances that have become routine for many artists in recent years.

You see, twenty-plus years ago, shortly before the album was released, Cat Power was last. At least, that was what the sign on the front door of the venue said when I first saw her perform in October 2005. As I understood it, she flew into St. Louis, got into a rental car, and started to drive to Springfield, Illinois and not Springfield, Missouri — where I lived and where the show was.

A handwritten sign on white paper reads: “CAT POWER got lost… Show will be delayed!! Doors will open: 8:00. Show at 8:45.” The paper appears slightly wrinkled and was posted at the venue entrance to inform concertgoers of the delay.
The handwritten sign posted on the venue door in October 2005 after Cat Power drove to the wrong Springfield, delaying the show until nearly 1:00 AM.

The estimated time of her arrival was 11:30 PM, but it ended up being nearly 1:00 AM when she pulled up and rushed in with her guitar case in hand. For an hour, she played for a crowd of diehard, devoted Cat Power fans who owned and loved her six albums and, by extension, loved her. She seemed a bit stressed by all that had transpired, and when she would pause or seem agitated, someone in the crowd would call out “We love you, Chan,” drawing a smile from her before she returned to singing. 

Still though, her set that night was beautiful and brilliant. She included a few new songs, as she described them, that would appear just a few months later on her album The Greatest — an album that is the indie rock equivalent of Dusty Springfield’s Dusty in Memphis

A sealed Slipcase Edition of Cat Power’s 2006 album The Greatest resting on a wooden surface. The cover features a sepia-toned image of Chan Marshall holding a guitar, with gold lettering reading “CAT POWER – THE GREATEST.” Promotional stickers on the shrink wrap highlight it as a specially priced mid-price classic and include a quote from The New York Times.
The Slipcase Edition of The Greatest, Cat Power’s 2006 studio album, photographed sealed in its original shrink wrap with promotional stickers intact.

Cat Power in 2026

“Gracias,” said simply with a brief bow and a sip from a mug of hot tea.  

Clad in a bright white ensemble of shoes, pants, belt, shirt, and jacket, she shone with the stage lights upon her, looking like I hope my guardian angel might look like, if such beings exist. As a performer, though, for all of her brilliance, she has never seemed fully comfortable on stage. She is not one for banter either, so throughout her set on Sunday, she simply said “Gracias” and bowed after each song. 

Cat Power stands at a microphone at The Van Buren in Phoenix, wearing a bright white suit under blue stage lighting. A music stand and microphone stand are positioned in front of her, with drums visible in the background.
Cat Power performs at The Van Buren in Phoenix on March 15, 2026.
Audience photo by Ryan Novak

It is difficult to put into context what The Greatest means to me and the rest of the audience. We, the Gen-X indie rockers of Phoenix, let each song wash over us. To look around was to see mouths moving while slightly singing, not necessarily along, but each to themselves. For so many of us, those songs all felt like hugs that we each needed those twenty years ago in the lost days of our youth and maybe, probably, still need now. Cat Power’s music has always been very emotionally raw, and something about that album clearly resonated in our souls. 

With each song, she used two microphones to recreate the haunting reverberation of the vocals on the album (I always wondered how they achieved that effect). Even when she pulled the mics from the stand and moved about the stage, she held one in each hand and sang with the same passion that we felt with each song. 

Cat Power performs at The Van Buren in Phoenix, standing at a microphone in a bright white suit under vivid magenta stage lights. A guitarist, drummer, and upright bassist are visible behind her, with stage monitors and cables in the foreground.
Cat Power performs at The Van Buren in Phoenix on March 15, 2026, bathed in vivid magenta stage lighting.
Audience photo by Ryan Novak.

With the album’s closing, she did not leave the stage. Cat Power has never been one for encores. No, she plays until she is ready to play no longer. She did a run through a short set of songs off her most recent albums, but finished with songs from across her three different albums of cover songs, culminating in a gorgeous full-band version of “Sea of Love,” originally performed on her The Covers Record in a slow, stark acoustic sung with a melancholy and longing. Now, though, it felt soaring and hopeful. 


As I left that art gallery at 2:00 in the morning more than twenty years ago, I took the “Cat Power Got Lost” sign from the door and kept it. It now rests in a scrapbook of set lists and show flyers from over the years. Cat Power is no longer lost. On stage, shimmering in a heavenly white, she was most definitely found, and now she is triumphant and should take a moment to celebrate what is arguably her greatest work: The Greatest. This time, aside from her “Gracias,” she responded to each person who cried out, “We love you, Chan,” with that same smile, less nervous and more , and with a tender reply of “I love you, too, so much.

Get Cat Power tickets now!

Promotional graphic for Cat Power’s The Greatest 20th Anniversary Tour. The design features a bright pink background with gold boxing glove necklace artwork inspired by the original album cover. Tour dates for February and March 2026 are listed below.
Official tour artwork for Cat Power’s The Greatest 20th Anniversary Tour, featuring tour dates and the iconic boxing gloves from the original album artwork.

Featured photo (top) Kim Metso, CC BY-SA 3.0 https://creativecommons.org/licenses/by-sa/3.0, via Wikimedia Commons

Narcotic Wasteland Announces “Praise the Beast North American Tour 2026” with Belphegor, Incantation, Hate

Montreal, QC – Extreme metal juggernaut NARCOTIC WASTELAND has announced they will be joining the “Praise the Beast North American Tour” with BELPHEGOR, INCANTATION, and HATE for February and March 2026, continuing their relentless assault on stages worldwide.

This marks the band’s third major run in less than a year, following the “Annihilation of Wasteland Tour” across the U.S. in September 2025 and their headlining “Annihilation of Europe Tour” in November and December 2025.

Promotional tour poster for the Praise The Beast North American Tour 2026 featuring Narcotic Wasteland with BELPHEGOR, INCANTATION, and HATE. Dark gothic metal artwork with band logos and a full list of tour dates running from February 19 in Brooklyn, New York through March 10 in Anaheim, California, including stops in Toronto, Denver, Houston, San Diego, San Francisco, and Los Angeles.

Fronted by guitarist/vocalist Dallas Toler-Wade (ex-Nile), Narcotic Wasteland has built a reputation for uncompromising brutality, technical precision, and lyrical themes that confront addiction, corruption, and societal decay. Their recent tours have drawn packed venues and critical acclaim, cementing their place as one of the most ferocious acts in modern death metal.

​“The energy we felt from fans in both North America and Europe has been incredible. We’re coming back harder than ever in 2026. Expect a setlist that spans our catalog, new material, and the kind of intensity that defines Narcotic Wasteland,” says Toler-Wade.

The upcoming tour will see the band storm through major cities across the U.S. and Canada, dates and venues listed below. The tour is a crushing lineup, making this one of the most anticipated metal tours of early 2026.

Tickets for the “Praise the Beast North American Tour” with BELPHEGOR, INCANTATION, HATE, and NARCOTIC WASTELAND go on sale on Wednesday, Nov. 19, 2025, at 12:00 pm PST / 3:00 pm EST.

2026 “Praise the Beast North American Tour” Dates​

  • Feb 19 – Brooklyn, NY – Brooklyn Monarch
  • Feb 20 – Lowell, MA – Taffeta Music Hall
  • Feb 21 – Montreal, QC – Le Studio TD
  • Feb 22 – Toronto, ON – Lee’s Palace
  • Feb 23 – Lakewood, OH – Mercury Music Hall
  • Feb 24 – Joliet, IL – The Forge
  • Feb 26 – Denver, CO – HQ
  • Feb 27 – Albuquerque, NM – Launchpad
  • Feb 28 – Haltom City, TX – Haltom Theater
  • Mar 1 – Houston, TX – Scout Bar
  • Mar 2 – San Antonio, TX – Paper Tiger
  • Mar 5 – Mesa, AZ – The Rosetta Room
  • Mar 6 – San Diego, CA – Brick by Brick
  • Mar 7 – San Francisco, CA – DNA Lounge
  • Mar 8 – Roseville, CA – Goldfield Trading Post
  • Mar 9 – Los Angeles, CA – 1720
  • Mar 10 – Anaheim, CA – The Observatory

Narcotic Wasteland: A Modern Force in Extreme Metal

Narcotic Wasteland has carved out its place as a dominant force in the modern metal scene, unleashing a punishing fusion of razor-sharp technicality, feral aggression, and raw intensity. At the helm is guitarist and vocalist Dallas Toler-Wade, celebrated for his tenure with Nile, whose unmatched precision and commanding stage presence drive the band’s sonic assault.

Press photo of extreme metal band Narcotic Wasteland standing in a field in front of a weathered wooden structure. Three band members pose with a gritty, confrontational presence under an open sky, wearing black metal shirts, reflecting the band’s raw, aggressive aesthetic and modern extreme metal identity.
Narcotic Wasteland photographed on location, capturing the band’s stark, unfiltered presence. Known for their uncompromising approach to extreme metal, the trio blends technical precision with raw aggression, delivering a sound as imposing as their visual aesthetic.

​Behind the kit, Joseph Howard delivers a relentless barrage of power and accuracy, propelling the band’s crushing rhythms with thunderous authority. His dynamic drumming lays the foundation for the group’s dark and uncompromising atmosphere.

Anchoring the low end, Kenji Tsunami injects depth and texture with inventive, hard-hitting bass lines. His formidable musicianship and commanding presence add another layer to the band’s overwhelming wall of sound, amplifying the ferocity of their live performances.

Together, Dallas, Joseph, and Kenji form a unit that is both unstoppable and uncompromising, captivating audiences with explosive performances and boundary-pushing compositions. With their collective skill and vision, Narcotic Wasteland stands tall as one of the most formidable powerhouses in extreme music today.

News & Reviews from the Fiery Mosh Pits of Arizona