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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.

Troy McLawhorn 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.
Troy McLawhorn, 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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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

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.

My Chemical Romance Confirms “The Black Parade 2026” US Tour Dates – Phoenix Show Announced with Jimmy Eat World

After a weekend of speculation sparked by mysterious billboards in Phoenix and other major cities, the wait is over: My Chemical Romance has officially announced new live dates across North America to celebrate the 20th anniversary of their landmark third album. “The Black Parade 2026” tour will bring the band to stadiums across North America, the UK, and Europe next year.

My Chemical Romance performing at Tacoma Dome (Tacoma, WA) in October 2022
Photography: Katherine Amy Vega © All Rights Reserved

Among the tour stops is a highly anticipated show in Phoenix, AZ, where My Chemical Romance will perform at Chase Field on September 6, 2026, joined by Jimmy Eat World, a hometown favorite.

Jim Adkins (vocals, guitar) of Jimmy Eat World at 93.3 ALT AZ’s Zombie Prom (10-22-16)
Photography: Katherine Amy Vega © All Rights Reserved

The pairing highlights a long-running connection between the two bands, who first toured together in Australia in 2005 and have since appeared on the same lineups at numerous festivals, including multiple years at When We Were Young Festival. Their parallel trajectory underscores a shared legacy in shaping the alternative and emo scenes, and brings added resonance to what promises to be a standout night for Arizona fans.

Tickets for all dates on the “Black Parade 2026” tour go on sale Friday, September 26 at 12:00 pm local time on Ticketmaster.

The announcement confirms what fans suspected when they spotted the cryptic Keposhka glyphs and teaser images on billboards in Phoenix, Los Angeles, Minneapolis, New York, and Nashville: My Chemical Romance is marching back, bigger than ever.

My Chemical Romance 2026 US Tour Dates

  • August 09, 2026 – New York, NY – Citi Field – with Franz Ferdinand
  • August 13, 2026 – Nashville, TN – Nissan Stadium – with Pierce The Veil
  • August 18, 2026 – Washington, DC – Nationals Park – with Modest Mouse
  • August 21, 2026 – Detroit, MI – Comerica Park – with Iggy Pop
  • August 24, 2026 – Minneapolis, MN – Target Field – with Sleater-Kinney
  • August 27, 2026 – Denver, CO – Coors Field – with The Breeders
  • August 30, 2026 – San Diego, CA – Petco Park – with Babymetal
  • September 06, 2026 – Phoenix, AZ – Chase Field – with Jimmy Eat World
  • September 12, 2026 – San Antonio, TX – Alamodome – with The Mars Volta
  • October 21, 2026 – Los Angeles, CA – Hollywood Bowl
  • October 23, 2026 – Los Angeles, CA – Hollywood Bowl
  • October 24, 2026 – Los Angeles, CA – Hollywood Bowl

Festival Appearances

  • May 10, 2026 – Daytona Beach, FLWelcome to Rockville
  • May 14, 2026 – Columbus, OHSonic Temple
  • September 18, 2026 – Louisville, KYLouder Than Life
Gerard Way (vocals) of My Chemical Romance, performing at Tacoma Dome (Tacoma, WA) in October 2022.
Photography: Katherine Amy Vega © All Rights Reserved

Mysterious My Chemical Romance Billboards Appear in Phoenix – Fans Speculate More U.S. Dates Ahead

Phoenix has become one of several U.S. cities to receive cryptic signs from My Chemical Romance. Fans began spotting billboards today near Chase Field and outside Tempe Marketplace, featuring the band’s distinctive Keposhka glyphs.

Spotted in Phoenix!!!
byu/Sweaty-String1414 inMyChemicalRomance

Meanwhile, in other cities (including Los Angeles, Minneapolis, New York City, and Nashville ) fans have captured this signage, as well as teaser billboards with images of the band in their Black Parade uniforms, sparking a wave of speculation across Reddit and fan communities.

For Arizona fans, the excitement is especially intense. My Chemical Romance last performed in Tempe in 2008 at the Tempe Music Festival. A planned return in 2011 was canceled after the band joined The Sound Strike, a coalition of artists boycotting Arizona in protest of the controversial SB 1070 immigration law. That cancellation has made the wait for MCR’s return feel all the more torturous — or expensive, for those who’ve had to travel out of state to see them live.

PHOENIX!
byu/EmileSierra239 inMyChemicalRomance

While no official announcement has been made, the coordinated rollout has many convinced that My Chemical Romance is preparing to unveil more U.S. dates for 2025. The buzz follows hints dropped during the band’s last run of shows that “there was more to come.”

With sightings spanning multiple cities, anticipation is mounting that fans nationwide may soon get their chance to march again.

My Chemical Romance
My Chemical Romance
Photography:
Devin Sarno

MEGG Caps Triumphant Vans Warped Tour Long Beach Set with New ‘IDC’ Video”

MEGG's logo

Fresh off the most surreal summer of her career, LA-bred alternative punk artist MEGG caps her Vans Warped Tour run with the release of the music video for her latest single, “IDC.”

Filmed on a shoestring budget and an even tighter schedule, the video channels the rebellious energy of the track into a whirlwind of nostalgia and chaos.

MEGG backstage at Vans Warped Tour wearing red logo sunglasses and Vans, celebrating “IDC” single release.
MEGG at Vans Warped Tour
Photography: Kat Seibert

“We pulled this music video off with like zero time or budget and the result is a fast-paced, nostalgic, chaotic ride,” MEGG shares. “It was such a team effort led by Rio Noir—he’s an insane talent. It really is a blast to watch and I think you can feel how much fun we had making it.”

Co-written by Brian Wight, Sophie Shredz, and MEGG, and produced by Wight and Rob Nagelhout, “IDC” is a snarling, anthemic statement piece—equal parts Joan Jett swagger and early Green Day grit. Mixed by Nagelhout and mastered by Grammy-winner John Greenham (Billie Eilish, FINNEAS), the single’s chorus all but dares you not to scream along.

The video’s release arrives just as MEGG wraps an unforgettable Warped Tour experience.

“Being on stage with my best friends at Warped Tour this year was the most insane experience of my life,” MEGG reflects. “My band and I grew up attending this festival when we were kids… to play our music in front of thousands of people as probably the smallest act on the bill… I’m still speechless. Thank you Kevin Lyman and Warped Tour! Grateful is an understatement.”

MEGG's "IDC" cover artwork
MEGG “IDC” cover artwork

A graduate of USC’s inaugural Popular Music Performance Program, MEGG has built her reputation on genre-bending songwriting, powerhouse vocals, and a relentless DIY spirit. She’s shared the stage with KISS, The Used, and other rock heavyweights, while headlining iconic Los Angeles venues like Saint Rocke and performing the National Anthem for the Dodgers, LA Galaxy, and LA Sparks.

Now splitting her time between Nashville and her California roots, MEGG is riding the momentum of “IDC” toward her upcoming EP, due this fall. With sand still in her Vans and a middle finger still raised, she’s primed to keep delivering the raw, unfiltered anthems her fans have come to love.

Upcoming Shows:

  • Oct 10Los Angeles, CA – Harvard and Stone

Follow MEGG:

Featured photo (top) & cover art by Sarah Rosin

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

Photo Gallery

Photographer: Katherine Amy Vega

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

ABSINTHE GREEN New Single “BITTERSWEET”

Absinthe Green Unleashes New Single “Bittersweet” from Upcoming Debut Album Of Love and Pain

Greek alternative metal powerhouse Absinthe Green returns with a gripping new single, “Bittersweet”, a haunting dive into the seductive chaos of passionate love. Serving as the latest preview from their highly anticipated debut album, Of Love and Pain, the track offers an unapologetic exploration of emotional extremes.

Listen to “Bittersweet” now

“Bittersweet” is a raw portrayal of love’s darker side, where heartbreak and ecstasy coexist in a chaotic, addictive bond. The song dives into the emotional extremes of a relationship built on passion, pain, and power struggles, capturing the thrill of intensity even when it’s destructive. With visceral lyrics and a confessional edge, it reflects the allure of losing yourself in something that both consumes and completes you.

Watch the Official Video

A Nøble Nøir production
Directed by Eirini ‘Absinthe Green’
Filmed and edited by Alikistis Terzi

Lyrics: A Taste of “Bittersweet”

In verses like “You can cover me in bruises as you tear me apart” and the recurring refrain “Cause baby we are bittersweet,” the band captures the duality of affection and torment in raw poetic form. The lyrics are unfiltered, emotionally brutal, and speak to the intoxicating push and pull of volatile love. Read the full lyrics below…

Behind the Music

“Bittersweet” was written and arranged by vocalist and guitarist Eirini ‘Absinthe Green’, produced in collaboration with renowned Finnish producer Hiili Hiilesmaa (HIM, The 69 Eyes). It was recorded by Geegor – Abyssal Productions at Vena Cava Studios in Athens, with drums tracked at Bombtrack Studios. The track was mixed and mastered at Coal House Studios in Hämeenlinna, Finland.

Fall UK and European Tour

To support the new release, Absinthe Green has announced select live dates across the UK and Greece.

  • Islington, UK – September 24 @ Hope & Anchor
  • Preston, UK – September 25 @ The Ferret
  • Stockport, UK – September 26 @ The Spinning Top
  • Brighton, UK – September 27 @ The Pipeline
  • York, UK – September 28 @ The Fulford Arms
  • Thessaloniki, GR – October 18 @ Eightball
  • Athens, GR – December 12 @ Piraeus Academy

Additional show dates to be announced. For updates and tickets, visit absinthegreen.com/#show

Absinthe Green "Of Love and Pain" tour admat
Click to Enlarge

About the Band

Absinthe Green started as the solo project of Eirini ‘Absinthe Green’ in Dortmund, Germany, in 2016. The project evolved into a full band after her return to Greece in 2019, joined by Harry Mason on drums, Villy Pirris on bass, and Panos Economakis on guitar.

Described by critics as “a melodic storm of beauty and heartbreak, both ferocious and tender”, the band delivers a bold fusion of alt-metal, hard rock, aggressive guitars, pop elements, and emotionally vulnerable songwriting.

Their debut album, Of Love and Pain, is expected in 2025. It explores duality in human emotion—where destruction meets beauty, and heartbreak becomes transformative.

Also out now: “Give the Devil His Due” featuring Snowy Shaw

Give The Devil His Due music video still
Click to watch the video on YouTube

Band Members

  • Eirini ‘Absinthe Green’ – Vocals & Rhythm Guitar
  • Villy Pirris – Bass
  • Panos Economakis – Guitar
  • Harry Mason – Drums

Connect with Absinthe Green

Featured photo (top) by George ‘Geegor’ Anagnostopoulos


Full “Bittersweet” Lyrics

Somehow you did it, you just woke up the dead

You make me forget the voices in my head

I’ve locked up my heart, thrown away the keys

but you make me feel alive when you’re on your knees

I won’t settle for the sparks I want the sun

You can cover me in bruises as you tear me apart

Throw me deep in your inferno, I am loving the thrill

The flames are growing higher as you head for the kill

But in the end it all seems fine

‘Cause baby we are bittersweet

I don’t want to know the secrets that you keep

You don’t need to say you’re mine

Just lose yourself, let’s feel this pain divine

PLEASURE IS PAIN IS PLEASURE IS PAIN

My mind is a casket for my withering strength

I could live without you though I’m better off dead

I wonder if it’s just your abuse that I miss

but I only feel alive when you’re on your knees

You can’t really hurt me if I hurt myself first

You tried to work your magic but I’m already cursed

Hey little punk, you’ve got to play nice

Because just like death I don’t happen twice

And in the end you’re going to cry…

‘Cause baby we are bittersweet

I don’t want to know the secrets that you keep

You don’t need to say you’re mine

Just lose yourself, let’s feel this pain divine

I ditched you last night and I felt no remorse

Your absence is hurting but your presence is worse

Sometimes I miss you when you’re not around

I want to touch you and feel you but I can’t dig you out

‘Cause baby we are bittersweet

I don’t want to know the secrets that you keep

You don’t need to say you’re mine

Just lose yourself, let’s feel this pain divine

‘Cause baby we are bittersweet

I read in your eyes the secrets that you keep

I just want to know you’re mine

Just lose yourself, let’s feel this pain divine

Descendents Launch Extensive Reissue Campaign With Iconic 1982 Debut Milo Goes to College

Out September 19th on LP, CD, and Cassette via Org Music

“A foundational classic of snotty melodic hardcore.” – Stereogum

Few records in punk history have left as massive a footprint as the Descendents’ Milo Goes to College. The 1982 debut fused the aggression of hardcore with catchy hooks, adolescent angst, and unmistakable personality — helping spark an entire genre now known as pop punk. Its influence remains undeniable over four decades later, earning spots on Rolling Stone’s list of the “40 Greatest Punk Albums of All Time,” Spin’s “50 Most Essential Punk Records,” and Pitchfork’s “200 Best Albums of the 1980s.”

Now, Descendents and Org Music are proud to announce the long-awaited reissue of Milo Goes to College, available September 19th on LP, CD, and cassette.

Reclaimed by the band and lovingly restored, this release marks the beginning of an extensive reissue campaign that will include the band’s foundational albums from their early years, originally released on New Alliance and SST Records.

Among them is a stunning limited “Punk Note” edition featuring alternate packaging by John Yates (Stealworks), inspired by the iconic jazz designs of Reid Miles and Francis Wolff. This visual reimagining of punk classics continues the aesthetic series that began with Org Music’s Bad Brains reissues.

The reissue will be available in the following variants:

WIDELY AVAILABLE FORMATS:

Descendents standard Milo Goes to College album art
Descendents – ‘Milo Goes to College’ standard album art
  • Black LP
  • “Grey Matter” LP
  • Punk Note Edition (black vinyl)
  • CD
  • Cassette

LIMITED/EXCLUSIVE VARIANTS:

Descendents punk note Milo Goes to College album art
Descendents – ‘Milo Goes to College’ punk note album art
  • Punk Note Edition (silver vinyl) — Org Music exclusive
  • “Suspended Gold” LP — Descendents Exclusive
  • Pink LP — Zia Records exclusive
  • Smoke LP — Rough Trade exclusive
  • “Statue of Liberty” LP — Going Underground Records & Seasick Records exclusive
  • Black LP with Exclusive Obi Strip — Celebrated Summer Records
  • “Coffee” Cassette — Tapehead City exclusive

More classics are on the way. The reissue campaign will continue with I Don’t Want to Grow Up, Enjoy!, ALL, Bonus Fat, and more — each reissued under the band’s own control and vision.

This project isn’t just about nostalgia — it’s about preservation, intention, and giving a new generation access to one of punk’s most influential catalogs.

Listen to the latest Vinyl Guide episode featuring Milo Aukerman & Bill Stevenson: HERE

Descendents Links:

Featured photo (top) by Ed Colver

WE ARE SCIENTISTS Share “The Big One” Off Upcoming Album

We Are Scientists

Exploring Collapse and Catharsis with Album Focus Track

Qualifying MilesOut This Friday via Grönland Records

New York, NY –

“One problem with constantly mining your own personal life for lyrical inspiration is that you sometimes catch yourself experiencing personal interactions through the lens of your own future lyrical depiction of the moment,” says We Are Scientists vocalist and guitarist Keith Murray about the band’s emotionally raw new single, “The Big One.”

He continues: “There’s a scene in Noah Baumbach’s Kicking and Screaming where a couple, fresh out of undergrad, are fighting over who gets to ‘use this material in a story.’ As a referendum on artistic solipsism, it haunts me to this day. I guess ‘The Big One’ is about those moments when things go so awry that that sort of in-the-moment arm’s-length analysis is no longer a possibility. Now you’re just in it. It also has maybe my favorite guitar solo ever, so, yeah.”

“The Big One” is the final preview of Qualifying Miles, the band’s highly anticipated ninth studio album, out this Friday, July 18 via Grönland Records. It follows a trio of emotionally rich singles that capture the band’s sharpened, guitar-forward direction and trademark lyrical wit: the aching, effervescent “Please Don’t Say It,” the shimmering, self-lacerating ballad “I Could Do Much Worse,” and “What You Want Is Gone,” a melancholic mid-tempo stunner paired with a fan-shot tour video that leans into memory, longing, and letting go.

Together, the four singles serve as a proper reintroduction to We Are Scientists: a band reflecting on their past without being trapped by it, chasing an immediacy that feels both familiar and revitalized. The album’s title, Qualifying Miles, plays like a wry nod to the band’s decades-long journey, but there’s no nostalgia for nostalgia’s sake here, this is a collection of songs that crackle with life and gut-punch emotional resonance.

Qualifying Miles is a stripped-down, emotionally expansive record that sees We Are Scientists embracing the ‘90s guitar rock influences that first lit the fuse back in their early Brooklyn days. Tracks like “Dead Letters,” “At The Mall In My Dreams” and “What You Want Is Gone” lean into themes of memory, impermanence, and the haunting weight of lost connections. But there’s levity, too — the band’s self-effacing humor and melodic swagger remain front and center.

Recorded with a “band in a room” ethos and a let-it-rip energy, Qualifying Miles finds longtime duo Keith Murray and Chris Cain pushing themselves toward something looser, louder, and more instinctive than anything they’ve done in years. For a band celebrating 20 years since their breakthrough debut With Love and Squalor, Qualifying Miles doesn’t feel like a victory lap — it feels like the start of something urgent and new.

We Are Scientists' Qualifying Miles album art
“Qualifying Miles” album artwork

QUALIFYING MILES – Tracklisting

  1. A Prelude to What
  2. Starry-Eyed
  3. Dead Letters
  4. The Big One
  5. Please Don’t Say It
  6. The Same Mistake
  7. What You Want Is Gone
  8. A Lesson I Never Learned
  9. I Could Do Much Worse
  10. I Already Hate This
  11. The Mall in My Dreams
  12. Promise Me

East Coast North American Tour Dates

We Are Scientists will support the release with an East Coast North American tour this fall, kicking off September 4th in Philadelphia and wrapping September 13th in Toronto.

  • July 30Brooklyn, NYC – Union Pool SOLD OUT
  • September 4Philadelphia, PA – Johnny Brenda’s
  • September 5Amherst, PA – The Drake
  • September 6Baltimore, MD – Ottobar
  • September 9Columbus, OH – Rumba Café
  • September 10Ferndale, MI – The Magic Bag
  • September 11Chicago, IL – Empty Bottle
  • September 13Toronto, ON – Horseshoe Tavern

Listen to “The Big One” now and get ready for Qualifying Miles, out Friday, July 18 via Grönland Records.

We Are Scientists Online

Featured photo (top) by Sari Murray