All posts by Ali Crimson

Seasoned Interviewer and Journalist, Founder of SoundChaser, NerdChex and Board & Metal, Singer and Avid Genre Explorer. A fan of dark humor, adventure and good people.

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.

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Photographer: Mark Greenawalt

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Photography © Mark Greenawalt.
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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.

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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: Purity Ring & yuniVERSE Lead Phoenix Into a Night Suspended Between Worlds (11-10-25)

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PHOENIX — Purity Ring’s fall 2025 “place of my own” tour came to The Van Buren, with yuniVERSE as the sole opener on her first tour. The beautifully historic, repurposed downtown venue set the stage for an evening the band had described in their July Substack tour announcement as “three-dimensional… expansive but intimate,” and the night delivered as promised.

yuniVERSE

The venue’s stage at first was strange to look at, one half covered in human-sized flowers and the other looking like metal stars or fans. I waited in the rapidly filling room with no idea of what to expect. When the lights faded, people abandoned the bars and the winding merch line spilling into the main room as the attention turned to a new performer on her first tour, yuniVERSE.

Singer kneels at the edge of the stage, singing into a microphone in front of towering pink paper flowers during yuniVERSE's set at The Van Buren in Phoenix, Arizona.
yuniVERSE draws closer to the crowd at The Van Buren in Phoenix, kneeling at the edge of the stage as glowing pink blossoms tower behind.
Photography: Katherine Amy Vega © All Rights Reserved

Even though she only used a portion of the stage, she invited us into the jewel-lit garden of her design, where she shared her intimate confessions through emotive electric pop. yuniVERSE weaves through each song like a layer within a dream, her hair gently blowing as she captivates the audience with her presence and movements. Her performance feels like a journey into her private world as she navigates through love and life. She continued to captivate the room completely, her sensual, charismatic movements paired with the softness of her vocals as she sang behind the mask she wore in unity with Purity Ring’s request for community care.

yuniVERSE performs at The Van Buren in Phoenix, stretched out across a stage monitor with her hair flying and giant paper flowers glowing behind her.
yuniVERSE leans into the mic while sprawled across a stage monitor, hair flying as she delivers an intense, theatrical moment in her set.
Photography:Katherine Amy Vega © All Rights Reserved

yuniVERSE said she wished this tour were longer because she wasn’t ready for it to end yet, and I can imagine I’m not the only one who felt the same. She playfully joked, “I know you’re here for Purity Ring, but together, we’ll keep it a secret that you’re actually here for me, okay?” giving a little laugh before closing out her set and leaving the stage for the headliner, Purity Ring.

Purity Ring

The room settled as the stage shifted from yuniVERSE’s dreamlike garden into the darker, more mysterious world crafted by Purity Ring. Corin Roddick stood alone at first, lighting up sections of the stage with his touch while the star-shaped fans began to spin, projecting red light that looked like sparks spraying across the dark.

Corin Roddick of Purity Ring performs in a mask behind an illuminated console as red fan-like visuals surround him on stage in Phoenix.

Purity Ring producer Corin Roddick performs behind an illuminated console amid vivid red stage visuals at The Van Buren in Phoenix. Photography: Katherine Amy Vega © All Rights Reserved

Megan James appeared a moment later, illuminated by a soft golden glow on her face in the sea of black around her.

Megan James of Purity Ring sings into a microphone while wrapped in a voluminous dark coat and white mask, scattered red LED streaks cutting across her in the otherwise dark stage at The Van Buren in Phoenix.
Purity Ring vocalist Megan James performs wrapped in a sculptural dark coat as red light streaks slice through the darkness.
Photography: Katherine Amy Vega © All Rights Reserved

With each song, the room shifted through new worlds and galaxies.

Purity Ring producer Corin Roddick silhouetted at his console as blue galaxy-like visuals and sparkling light particles swirl across the stage.
Purity Ring producer Corin Roddick is silhouetted at his console as swirling blue visuals and scattered points of light turn the stage into its own small galaxy.
Photography: Katherine Amy Vega © All Rights Reserved

During “Many Lives,” the lights flickered and danced like floating embers. “Obedear” pulled us into caverns and stars, with what looked like fireflies curling upward like smoke. “Soshy” arrived with bright, breathy vocals and pounding bass, blue lights sparkling before shifting into sharp red flashes deeper into the song.

Megan James of Purity Ring sits cross-legged onstage, masked and dressed in black, singing into a handheld mic as cool blue and white light streaks fall in the background.
Purity Ring vocalist Megan James performs seated and masked, framed by cascading blue and white light patterns that spill across the backdrop. Photography: Katherine Amy Vega © All Rights Reserved

James took a moment to thank the people in the crowd who wore the masks the band provided for everyone’s health. She appreciated the contribution to community care and valued taking care of each other. As she gushed while thanking yuniVERSE, she admitted she was rambling before continuing the set. It was clear the two acts genuinely appreciated their time together. This became even more apparent after noticing Roddick’s contributions to at least three of yuniVERSE’s tracks (“FALL 4 U,” “18 nite texts,” and “wasted”).

ALT: Megan James of Purity Ring, masked and dressed in black, leans sideways into the mic as vivid red light patterns radiate behind her, with Corin Roddick faintly visible at the console below.
Purity Ring vocalist Megan James leans into the mic in front of spinning fan visuals while Corin Roddick works at the console below, both immersed in neon red light.
Photography: Katherine Amy Vega © All Rights Reserved

Our journey resumed as holographic leaves of blue, green, and red light appeared and danced around the stage, swirling toward the crowd as the room stayed completely locked in the performance.

Purity Ring perform in silhouette as bright holographic leaf shapes burst from a giant blue seascape screen, drifting toward the crowd in the foreground.
Purity Ring perform in silhouette while shimmering leaf-shaped projections explode from a seascape backdrop and drift toward the crowd. Photography: Katherine Amy Vega © All Rights Reserved

As the surreal landscape of each song immersed everyone further into the themes, the night kept expanding into something otherworldly.

Megan James of Purity Ring sings into the microphone with her arm extended as streaks of golden light spin around her against a vivid orange backdrop.
Purity Ring vocalist Megan James sings with her arm outstretched while spinning bands of golden light radiate behind her. Photography: Katherine Amy Vega © All Rights Reserved

The final song, “Begin Again,” brought everything together. Galaxy patterns pulsed behind the band, and the twinkling vocals reached out with swirls of light bursting like magic. The fans met the band’s energy as they sang along during the quiet pauses. As we traveled back to reality with this song, and as the band thanked Phoenix to end the night, cheers of fanfare erupted and filled the room with adoration as we exited the enchanted world of Purity Ring.

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Photography © Katherine Amy Vega, Kataklizmic Design
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REVIEW: SUPERCHARGED Tour Surges in Phoenix with The Offspring, Jimmy Eat World, & New Found Glory (8-27-25)

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The Offspring "Supercharged" album artwork
The Offspring “Supercharged” album artwork

PHOENIX — The golden hour bathed Talking Stick Resort Amphitheatre as fans of all ages gathered for a triple bill of nostalgic icons: The Offspring and Jimmy Eat World co-headlining, supported by New Found Glory. The “SUPERCHARGED Worldwide in ‘25” tour follows The Offspring’s 2024 studio release, Supercharged, promising a night of their signature high-energy punk. Anticipation hummed through the amphitheatre, decades of beloved hits ready to be unleashed. Each band carried their own unique legacy of anthems and reputations to uphold.

New Found Glory

When the stage went dark for the first time, Phoenix was greeted by a “Y’all ready for this?” from vocalist Jordan Pundik of New Found Glory. Surrounded by the yellow and pink neon glow, the band tore across the stage faster than high school summers.

New Found Glory performs under neon pink and yellow visuals as a cheering Phoenix crowd looks on at Talking Stick Resort Amphitheatre during the Supercharged Tour.
New Found Glory kicking off their set with high energy, vivid visuals, and an ecstatic Phoenix crowd.
Photography: Katherine Amy Vega © All Rights Reserved

Pundik was an energetic force, one of the most physically demanding performances I’ve encountered, and his bandmates didn’t miss a step keeping up with him. Did they age? With moves like that, they seem to be just as on-point as they were in the early 2000s. 

Jordan Pundik (vocals), Ian Grushka (bass), Dan O’Connor (guitar), Cyrus Bolooki (drums), New Found Glory
Photography:
Katherine Amy Vega © All Rights Reserved

The crowd followed his every command, clapping and jumping to old favorites like “Dressed to Kill.” A new favorite, “100%,” was played as Pundik did a hurdle jump and encouraged the amped fans to open up the pit. The song was fresh but still the NFG we know and love, with a strong message about authenticity and perseverance: “My word is cement, I’m gonna give you one hundred percent.” 

Close-up of Jordan Pundik (vocals), New Found Glory pointing a finger gun
Jordan Pundik (vocals), New Found Glory
Photography:
Katherine Amy Vega © All Rights Reserved

The band gave their shout-outs, with the most important being to missing guitarist Chad Gilbert, explaining that he couldn’t make it tonight because “cancer is kicking his ass.” Filling in for Gilbert was Dan O’Connor of Four Year Strong, with Dave Knox of Real Friends also joining on rhythm guitar.

They closed their set with “My Friends Over You,” where Pundik donned a large yellow finger, still never missing a beat despite what seemed to be a struggle with the soundboard. NFG gave Phoenix 100% until the very last moment on the stage.

New Found Glory igniting the crowd with undeniable pop punk energy.
Photography: Katherine Amy Vega © All Rights Reserved

Jimmy Eat World

The entirety of the amphitheatre went dark as hometown heavy hitters Jimmy Eat World took the stage in Phoenix for the first time since their 20th anniversary show for the album Futures. They began their set with a “What’s up y’all?!” from lead vocalist Jim Adkins, before leaping into “Pain,” the first single they dropped from Futures back in 2004. If anyone there was feeling any kind of pain that night, it would have been easy to let it wash away in Jimmy Eat World’s emotionally mesmerizing performance.

Jim Adkins of Jimmy Eat World performs live on stage with a white electric guitar and black button-down shirt, under blue stage lighting
Jim Adkins (vocals, guitar) of Jimmy Eat World at 93.3 ALT AZ’s Zombie Prom (10-22-16) — looking much the same during the Phoenix stop of the “SUPERCHARGED” tour.
Photography: Katherine Amy Vega © All Rights Reserved

A brief storytime about mid-set with Adkins, complete with an important lesson:

“That’s my people right there,” he said, referring to the grassy GA section under the night sky.  “I remember charging the barricade when Green Day was playing at Lollapalooza … They played, like, second that year, and I made it all the way down here, like from the GA down here.” He pointed toward the full pit. “And I was like, ‘Cool! There’s 10 more hours of this. I’m going back up there!’”

“Jim, that’s a great story. Your rock and roll talk is the best,” Adkins says to himself.

“If you think my rock and roll talk on stage is the bomb, everyone yell some shit!” The crowd was right along with him for the ride.  “That’s right! I used the word ‘the bomb’… because I’m old!” he laughed, strumming his guitar.

Jim Adkins (vocals, guitar) Jimmy Eat World – looking totally rad at ALT AZ’s Zombie Prom in 2016
Photography: Katherine Amy Vega © All Rights Reserved

“Anyway, aging is not a choice… Acting like a crotchety old bastard is, but aging isn’t. This song’s about everything that makes music special. It’s called “Something Loud.” Come on!”

And there you have it, folks—a truth for everyone as we grow older. Jimmy Eat World is still holding a mirror up, showing us who we choose to be.

Jimmy Eat World under dramatic X-shaped beams of light at the Summer Ends Music Festival in Tempe, Arizona on September 25, 2015.
Jimmy Eat World under X-shaped light beams of light during Summer Ends Music Festival – Tempe, AZ (9-25-15)
Photography: Katherine Amy Vega © All Rights Reserved

The lighting team mirrored the emotion of each track, from the glow of mint green during “Lucky Denver Mint” to golden warmth and deep blues across their biggest anthems like “Sweetness” and “The Middle,” illuminating each musician with care. The air was thick with heat and the crowd’s passionate response, the songs pouring from the stage in the way so many once imagined while listening on the radio.

The Offspring

An abrupt countdown began when Jimmy Eat World left the stage, and the chaos of The Offspring began to be unleashed in waves, showing just how much they cherish their fans and a good time. A series of feature cams lit up the screens, including the “Kiss Cam,” “Fuck You Cam,” “Headbang Cam,” and “Booty Cam.”

Crowd at The Offspring concert reacting to the giant screen displaying the “Fuck You Cam,” with fans flipping off the camera in good fun.
The Offspring kept the party rowdy and fan-focused with cheeky live cams — like this unapologetic “Fuck You Cam” moment.
Photography: Katherine Amy Vega © All Rights Reserved

During Offspring trivia, shirts were launched into the excited audience. A “GET LOUD” meter appeared on-screen as the band prepared to take the stage, and the fans were ready, wild, and dare I say, supercharged. A crew member ran around in an ape mask, upgrading fans to better seats.

Everything went dark, the final countdown began, and the fans chanted the numbers as they appeared. Blue electricity filled the screen, epic music swelled, and guitarist Kevin “Noodles” Wasserman stepped out, showering the crowd with love.

The Offspring’s stage lit with blue lightning and a glowing orb on screen, as the crowd anticipates guitarist Noodles’ entrance.
The Offspring charging up their set to ACDC’s “Thunderstruck” with a storm of blue lightning visuals, building anticipation before taking the stage.
Photography: Katherine Amy Vega © All Rights Reserved

The band blasted into the first song, the anthem “Come Out and Play.” Vocalist Dexter Holland’s voice was better than the recording — with a little more grit and age, it was perfection.

Dexter Holland, vocalist and guitarist for The Offspring, performing during the Supercharged Tour in Phoenix.
Dexter Holland (vocals, guitar), The Offspring – delivering the opening anthem “Come Out and Play” with unmistakable grit and precision.
Photography: Katherine Amy Vega © All Rights Reserved

Dripping with nostalgia and opening a bag of new tricks, the show’s props were next level: two gigantic blue-lit skeletons were moved on stage during one of the songs, confetti was blasted, and huge beach balls were tossed around the pavilion during “Pretty Fly For A White Guy.” The cams on fans kept rolling, making the audience a central part of the experience. The huge screens showcased the band members in different filters, changing with each song, adding an unexpected visual flair. The high-energy punk rock momentum continued all over the stage throughout the night, including the hilarious wacky waving inflatable tube “pretty fly” white guys.

Kevin "Noodles" Wasserman on lead guitar and Todd Morse on bass performing together during The Offspring’s set at the Supercharged Tour in Phoenix.
Kevin “Noodles” Wasserman (lead guitar) and Todd Morse (bass), The Offspring – locking in a high-powered moment during their Phoenix set.
Photography: Katherine Amy Vega © All Rights Reserved

In all of this rowdy fun, The Offspring did break for emotional segments like the beautiful performance of “Gone Away” and paying a touching tribute to the recently departed Ozzy Osbourne. 

They told their electrified legion that Arizona always gives them the best shows, and they played like they believed that in their souls. The Offspring were playful and unexpected in the best ways. They pulled out all the stops for this tour, with the crew executing it exceptionally.

The Offspring performing on stage in front of a packed Phoenix crowd, backed by large pop-art visuals and dramatic red-and-yellow lighting during the Supercharged Tour.
The Offspring delivering a full-throttle performance with massive visuals, tight musicianship, and a crowd that gave it right back.
Photography: Katherine Amy Vega © All Rights Reserved

The triple bill delivered the type of concert people recall when asked what their favorite show was. The Offspring, Jimmy Eat World, and New Found Glory are a dream lineup, reminding us why this music is still embedded in our hearts decades later. The “SUPERCHARGED” tour is a timeless collision of past and present, still providing the soundtracks to our lives.


Setlists

See what each band played during the Phoenix stop on Setlist.fm:


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REVIEW: Hot Girl in Hell LØLØ Ignites as Simple Plan Tour Opener in Phoenix (8-14-25)

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PHOENIX — The night kicked off with a light, Disney-esque melody, possibly a nod to her “Let It Go” cover from Disney’s pop-punk covers album A Whole New Sound. Behind the stage, a whimsical backdrop mirrored her album falling for robots and wishing i was one: a yellow brick road leading to the Emerald City, her name in bold red with yellow trim. A drum crash cut the melody short, and LØLØ bounded onto the stage in a very cute, circa-early-2000s pop-punk-princess look: a cropped argyle spaghetti-strap top, tight black miniskirt, fishnets, and her signature knee-high boots. “Ready to make some noise?!” she shouted, busting into her first song.

LØLØ sings with arms wide open, smiling brightly at the crowd during her live set.
LØLØ (vocals, guitar) beams with arms wide open as she begins her set at Arizona Financial Theatre
Photography: Katherine Amy Vega © All Rights Reserved

The opening song blended the lyric “It was only a kiss” from The Killers’ “Mr. Brightside” with her own “faceplant.”  As an opening move, it was brilliant, dropping in one of the most recognizable alt-rock hooks guaranteed the crowd’s attention, even if they weren’t familiar with her music yet.

Simple Plan's Bigger Than You Think tour admat with openers and a list of 2025 tour dates
Simple Plan’s “Bigger Than You Think!” tour admat

Smiling, she announced it was her job to warm us up tonight for the legendary bands that raised her  — a particularly funny line, considering we were in the desert and it was 100+ degrees outside.

Still, the respect conveyed in her tone showed she knew exactly what it meant to open for beloved pop-punk heavyweights like Simple Plan, Bowling for Soup and 3OH!3 on the “Bigger Than You Think!” tour.

LØLØ gazes upward mid-song, gripping the microphone with intensity.
Opening for pop-punk mainstays on the “Bigger Than You Think!” tour, LØLØ gazes upward with a whimsical expression
Photography: Katherine Amy Vega © All Rights Reserved

After being part of the lineup for Simple Plan’s 25th anniversary tour, LØLØ will pick back up in November to finish the last leg of her ‘U Turn Me On’ U.S. headline run — which saw all but two shows sell out before pausing in March. See tour dates below.

Her second song, “2 of us”, found her bathed in golden spotlight while her guitarist and drummer played in violet and red shadows. She delivered the raw lines, “Do you think I’m stupid? Do you think I’m dumb? Well maybe I am, ’cause I still pick up…” with the kind of questions anyone who’s been in an endless rough relationship has asked as we answer the phone or text again. 

Close-up of LØLØ singing into the microphone onstage, wearing a spiked bracelet and gazing upward.
LØLØ captured in a close-up moment onstage
Photography: Katherine Amy Vega © All Rights Reserved

“the devil wears converse” (her newest release) came next, and here she was fully in her element — moving with joyful precision across the stage, trading playful glances with her guitarist, and getting the audience clapping along. She never missed a beat, her live vocals spot-on with her recordings, her movements as expressive on stage as they are in her videos.

By the time she launched into “debbie downer”, the crowd was warming up too. She led a “Hey ho, let’s go” chant, flirty and confident as she playfully stumbled across the stage. 

LØLØ mid-performance with hair flying across her face, holding the microphone at her side.
LØLØ rocks out — hair flying as she moves across the stage
Photography: Katherine Amy Vega © All Rights Reserved

The second chant was a nod to the nostalgically millennial favorite film “Bring It On”, with the famous “It’s Cold in Here” chant while holding a blue pompom that ended with us all being officially inducted into her squad. The audience happily roared back. 

The joy she has performing is infectious and obvious in the best way. “hurt less” had the whole crowd squatting down and popping back up on her command, and “u turn me on (but u give me depression)” was a clear highlight. Holding a striking blue-and-white guitar, she admitted the song was written about someone she’d obsessed over who made her “very mentally ill.” The crowd clapped along, and she stood more still here, letting the weight of the song land. At the end, she added, “If you were thinking of someone during that song, maybe take it as a sign to stop.”  Solid advice. Just DON’T, per LØLØ.

LØLØ leans into the microphone with a wide-eyed expression, striking a playful pose onstage.
LØLØ strikes an expressive pose as she sings at the mic with a wide-eyed look
Photography: Katherine Amy Vega © All Rights Reserved

“DON’T!” follows the same theme of hot, sexy bad-for-you exes — the late-night snacks of connections, filling but not fulfilling. She remained bubbly throughout the entire show, moving freely and animated, never losing her spark. “OMG” stood out as one of her best live numbers, alternating between breathy talk-sing verses reminding me of Taylor Swift and explosive choruses of “I can’t make it stop.” She threw herself into it, as bouncy and energized as the song demanded.

LØLØ performs live in Phoenix at Arizona Financial Theatre, opening Simple Plan’s Bigger Than You Think Tour, wearing an argyle crop top, fishnets, miniskirt, and knee-high boots while leaning forward with the microphone.
Charged with energy, LØLØ leans into the mic with an expressive look as she sings
Photography: Katherine Amy Vega © All Rights Reserved

Then came the cover that sealed it: Icona Pop feat. Charli XCX’s “I Love It”, reimagined in her pop-punk style. Jumping, headbanging, leading the sing-along — she lit the room on fire, earning the biggest applause of her set.

Between songs, her banter made her even more likable. With a black guitar slung across her, she talked about her dog Slim (named after Eminem).  A particularly fun audience engagement exchange was when she asked if we had exes. “Yes!” shouted the crowd. Then she asked if we had exes we hated. A louder “yes” from the crowd. She responded with a playful, “We all clearly need therapy.” She laughed before joking that it is perfectly healthy to imagine them burning in hell, then launched into the song “hot girls in hell”.

LØLØ sings playfully into the microphone as she engages the crowd.
LØLØ leans forward with warmth, singing out to the crowd with spirited energy
Photography: Katherine Amy Vega © All Rights Reserved

By the end, she gave her band their moment of love, calling for cheers as her guitarist took a solo and her drummer drove the beat behind him. Then, the three of them came together at center stage, bowing and thanking Phoenix for coming — a rare show of appreciation from an opener, underscoring how much it meant to them to play for Phoenix.

LØLØ smiles brightly with arms spread wide, eyes sparkling under the stage lights in a radiant moment of connection.
LØLØ triumphantly stretches her arms wide in a powerful moment onstage
Photography: Katherine Amy Vega © All Rights Reserved

LØLØ understood the assignment; she warmed up the crowd with charisma, pop-punk attitude, practiced precision, and just enough chaos to keep it raw. The legacy of pop-punk shone through her endless energy and crowd engagement, channeling the spirit of icons like Paramore and Avril Lavigne. As she opened for some of the most influential bands that helped build the scene, it was refreshing to experience a fun female voice in a sea of predominantly male artists.

LØLØ stands confidently on stage, singing into the microphone with one hand in her hair as dramatic stage lighting shines down.
LØLØ commands the stage with confidence, exuding charisma as she sings
Photography: Katherine Amy Vega © All Rights Reserved

Simple Plan, 3OH!3, Bowling for Soup and Phoenix all seemed to embrace the addition of a rising “pop-punk princess,” who left her mark on the desert with a standout set that was entirely her own. If you come out to see this tour and have a great time, LØLØ is an opener you don’t want to miss.

LØLØ’s USA Headline Tour Dates

Buy tickets at itslolomusic.com

LØLØ's "U Tour Me On" tour admat with a list of 2025 tour dates
LØLØ’s “U Tour Me On” tour admat

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Photography © Katherine Amy Vega, Kataklizmic Design
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