Category Archives: Concerts

Concert reviews featuring concert photography

SPECIAL REVIEW: Melanie C Brings Sweat, Spice, and Pure Joy to San Diego 9-25-26

October 1, 2026 Katherine Amy Vega Leave a comment

SAN DIEGO — Melanie C brought “The Melanie C World Tour” to House of Blues San Diego on September 25, joined by experimental pop artist Sur Back for a night that celebrated movement and the unmistakable joy of performing.

Touring behind her ninth solo studio album, Sweat, Melanie C arrived in San Diego during a particularly bright chapter of an extraordinarily varied career. Nearly 30 years after the Spice Girls changed pop culture, she is still finding new ways to move forward, and Sur Back proved to complement Melanie C perfectly.

Sur Back Finds Joy on the Dance Floor

Sur Back, the musical project of Caroline Sans, opened the evening with a set that made an immediate impression, not least because of Sans’ obvious joy in performing. Whatever emotional territory the music entered, there was a genuine enthusiasm in the way she inhabited the stage.

At moments, Sans’ set brought to mind the atmospheric art-pop of artists like BANKS or Billie Eilish. The handful of tracks currently available on Spotify reveal a much brighter and dancier electronic side. There are flashes that may remind listeners of Purity Ring or CHVRCHES, only pushed further toward the dance floor. “BLIND (RAVE MIX),” in particular, practically explodes with bright rave energy, while the “Party People – KFR Remix” further reveals the dance-floor side of her music.

That combination of electronic pop and dance-floor momentum made Sur Back an especially fitting opener for this chapter of Melanie C’s career, pairing well with the club-minded energy of Sweat.

Some of the most intriguing music Sans performed isn’t readily available to revisit yet. Before “The Only Thing That Turns Me On Is Forever,” Sans spoke candidly about experiencing heartbreak, giving the unreleased song an added emotional weight. After the show, I asked Sans whether she had a CD or another format of her music available to buy and learned that the new material she had performed hadn’t been released for purchase yet.

Her current Spotify presence only tells part of the story. Sans has been releasing music as Sur Back for years, with a deeper catalog available through Bandcamp that includes Kitsch, Kitsch II, Nostalgia in Motion, and Finish Line. That earlier work explores electronic, experimental and art-pop territory, while the new material heard in San Diego was like an invitation to pay attention to where Sur Back is headed next.

San Diego also marked Sur Back’s final performance on this run with Melanie C, and her visible happiness onstage provided an appropriate beginning to a night in which joy itself would become a recurring theme.

Melanie C Enters the Ring

Melanie C walked onto the House of Blues stage dressed like a fighter. Wearing a boxing robe reading “Undefeated Champion,” she opened the set with the song of the same name, immediately establishing a visual and musical motif that would carry all the way through the performance. By the end of the night, she would be punching her fists triumphantly into the air.

Chisholm is in extraordinary form, and not simply in the physical sense one might expect from the woman the world has called Sporty Spice for nearly 30 years. Her energy and stage presence were victorious from start to finish. More striking, however, was the lightness about her. She looked like someone genuinely thrilled to be doing exactly what she was doing.

The beautiful House of Blues was packed so tightly that navigating the room in any direction was a challenge. Men appeared to make up a particularly large portion of the San Diego crowd, something our Content Editor, Brianne Dunn, also noticed at the Los Angeles show two nights earlier. There are likely several factors behind that demographic, but Chisholm’s longstanding support of the LGBTQ+ community and the unapologetic sex appeal surrounding the Sweat era may both be part of the equation.

After the show came an unexpected connection to home for Burning Hot Events: among the crowd were at least six fans who had made the trip from Arizona.

I happened to meet them in the merch line after overhearing Josh H., one of the six, exclaim, “It felt short because we were having such a great time!”

Running into a group from Arizona more than 350 miles from home made an already memorable night feel a little closer to it.

Every Version of Melanie C in One Show

For all the attention rightly paid to Melanie C’s voice, her solo career has also been defined by an impressive refusal to remain in one musical lane.

Northern Star introduced a solo artist willing to move among pop, rock, dance and alternative influences. Later records would take her through heavier rock territory, adult pop, electronic experimentation and dance music. Stages even found Chisholm interpreting songs from musical theater and film, a natural extension of a stage career that has included acclaimed roles in Blood Brothers and Jesus Christ Superstar.

Then there is The Sea. Released in 2011, the album remains criminally underrated and is a personal favorite, moving through atmospheric pop, electronics, rock, dance and darker emotional territory. In her 2022 memoir, The Sporty One: My Life as a Spice Girl, Chisholm herself reflects on the album’s underwhelming reception. But fifteen years later, in this new era, that may be water under the bridge.

That is not because the music no longer matters, but because the Melanie C who stood onstage in San Diego appears to have reached a very different place. The difficult chapters belong to the same story as the joy she projects now.

That history also makes the genre collisions in her current show feel less surprising. At one point, Nirvana’s “Smells Like Teen Spirit” crashed directly into the Spice Girls’ “Who Do You Think You Are.”

It was wild.

The mashup brought the rock edge that has surfaced throughout Chisholm’s solo career crashing into the pop exuberance of the Spice Girls, all filtered through the sensibility of the DJ she has since become. It was another reminder that even while Sweat puts her firmly on the dance floor, there is unmistakably still rock in her soul.

And while another rock-oriented Melanie C album would certainly be welcome someday, Sweat feels exactly right for where she is now.

Sporty Spice Never Really Left

Melanie C has been DJing for years now, and that side of her musical life has increasingly become part of her identity as a performer. On this tour, she doesn’t leave it outside the concert experience. She brings it directly into the show.

During the DJ portion in San Diego, familiar pieces of dance history including Technotronic’s “Pump Up the Jam,” Snap!’s “The Power” and Crystal Waters’ “Gypsy Woman (She’s Homeless)” kept the House of Blues moving before the show shifted back toward Chisholm’s own catalog.

That makes sense for Sweat, an album built around physicality and dance music. It also feels inevitable for Sporty Spice.

There was a period around Northern Star when Chisholm understandably wanted to establish Melanie C as something more than the identity the world already knew. But Sporty Spice never really disappeared. Over the years, Chisholm has increasingly spoken about that identity as an authentic part of herself, and she has actively embraced her Spice Girls history for a long time.

In The Sporty One, Chisholm recalls the Spice Girls’ determination to distribute vocal parts as equally as possible among all five members. Yet even within that deliberately democratic arrangement, her powerhouse voice could make Sporty Spice feel like the group’s natural vocal anchor. Hearing that voice fill a comparatively intimate venue decades later makes it easy to remember why.

Chisholm didn’t ration the Spice Girls material, nor did she allow it to consume the evening. Instead, those songs existed comfortably alongside Sweat, her earlier solo work, acoustic performances, and the DJ portion of the show.

“Never Be the Same Again” became particularly interactive when Chisholm invited an audience member onstage to perform Lisa “Left Eye” Lopes’ rap, handing one of the song’s most recognizable moments over to a fan.

When she told the crowd that San Diego had chosen “Viva Forever,” the response was immediate. With lights waving in the air, voices throughout the packed room joined hers on a song that has followed many of those people through much of their lives. I learned to play “Viva Forever” on piano as a kid and even introduced it to chorus classes at two different schools, both of which warmly embraced and performed it. Hearing it in that room all these years later made the moment especially meaningful for me.

Then there was “Spice Up Your Life.” With the live band driving the song and the crowd throwing itself into every word, there was a fervor in the room that made the performance feel remarkably complete. Chisholm’s voice had more than enough power to lead it, but it was the combination of performer, musicians, and audience that made the song feel so enormous.

Familiar Songs Become Something Else

The concert itself unfolded with a clear shape. The opening stretch belonged largely to Sweat, immediately establishing who Melanie C is right now before the show deliberately pulled back for a handful of acoustic songs.

“What Could Possibly Go Wrong?” was a particularly surprising choice for that portion of the concert. On record, it registers as a dance track, making its stripped-down live arrangement an unexpected reinterpretation. It gave the song a different character and allowed the show to breathe before the energy began building again.

From there, the intensity began to swell. Songs like “Flick of the Wrist” helped propel the concert toward its most physical stretch, eventually giving way to Chisholm behind the decks and a DJ sequence that sent the room fully into club territory. By the time she returned to songs like “Who Do You Think You Are” and “Spice Up Your Life,” the energy had been building in waves rather than remaining at full throttle all night.

At the opposite extreme from the acoustic interlude was the closing song, “I Turn to You.” It had far more intensity live than its album version might lead someone to expect. Calling it epic almost feels insufficient.

A significant part of that transformation came from hearing the song played with live instruments. The familiar dance track suddenly had a physical force that a recording can’t entirely replicate. Chisholm attacked the song while the band drove it forward, and the crowd sang along until the distinction between performer and audience began to blur.

“Spice Up Your Life” benefited from that same live-musician intensity. Both songs demonstrated how material rooted in pop and dance music could become something more visceral when played by a band in a packed room.

The intensity reinforced something the Nirvana mashup had already suggested: the rock singer who emerged on Northern Star never disappeared; rather, she became one part of a much broader musical identity.

Another Prime

For American fans, seeing Melanie C perform a full solo show remains a rare opportunity. Her solo career has brought her to the United States before, including appearances dating back to the Northern Star era, but those performances occurred more than half a lifetime ago for some of the people who grew up listening to her.

Sweat also arrives with some significant career milestones. The album reached No. 3 in the UK, becoming the highest-charting solo album of Melanie C’s career and surpassing the No. 4 peak of Northern Star. According to the UK’s Official Charts Company, it also became the highest-charting solo album by any Spice Girl in UK chart history.

The success comes at a moment when dance music is having another cultural surge. Just two days after the San Diego show, Madonna became the biggest winner at the 2026 MTV Video Music Awards, taking home seven awards during her own return to dance music with Confessions II, including Artist of the Year and Best Dance.

Maybe there is something about the world right now that has people especially hungry for music that lets them move, escape for a while, and simply feel good.

I was not really old enough to see Melanie C during those earlier American appearances. I didn’t even know those shows were happening at the time.

There was an obvious temptation, then, to view a concert like this as finally catching up with something missed in youth. But seeing her now felt more like moving forward and meeting Melanie C where she’s at today.

That feels especially relevant because Chisholm herself has previously spoken about wondering whether she had already missed her prime, only to reach her 40s and discover another opportunity to go for what she wanted and enjoy herself.

Now, in her 50s, newly married, continuing to explore DJ culture, touring behind new music, and visibly throwing herself into the experience of performing it, she did not look like an artist living in the aftermath of her prime. She looked like someone in another one, and there is something profoundly hopeful and inspiring about that.

Popular culture has a habit of treating a person’s prime as though it has an expiration date, particularly for women. Youth gets framed as the period of discovery, possibility, and reinvention, while middle age is too often discussed in terms of what someone once was.

Melanie C offers another possibility… Perhaps life doesn’t contain one prime. Perhaps there can be several.

And perhaps reaching middle age doesn’t mean looking backward at the most exciting version of yourself. There may still be versions you haven’t met yet.

That feeling lingered throughout a show filled with movement, communal singing, and an almost startling amount of joy. In difficult times, it is restorative to watch someone step onto a stage and so visibly love being there.

And then, somehow, after an evening built around joy and togetherness, an actual brawl broke out among audience members scrambling for setlists. Apparently somebody took the boxing motif a little too seriously. It was a bizarre ending to an otherwise remarkably uplifting night.

But the image worth keeping came just before it: Melanie C, fists raised in the air, still moving forward. Undefeated, indeed.

Photo Galleries

Photographer: Katherine Amy Vega

View Separately

Melanie C

Sur Back

Melanie C & Sur Back – House of Blues San Diego 9-25-2026

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

Concerts, News, Reviews

REVIEW: My Chemical Romance Marches “The Black Parade 2026” Into Phoenix With Support From Jimmy Eat World (9-6-26)

September 10, 2026 Ryan Novak Leave a comment

PHOENIX — Let’s talk about anniversaries. We recognize and celebrate anniversaries to varying degrees as a means of looking objectively at the event and what it meant. We also consider the context in which it exists now and what it means in this new context. My Chemical Romance’s “The Black Parade” tour stop at Chase Field with support from Jimmy Eat World brought with it several anniversaries.

Album artwork – Jimmy Eat World ‘Bleed American’

Let’s start with a good one: Jimmy Eat World’s breakthrough fourth album Bleed American is 25 years old this year. Then there’s September 11th, a day of unspeakable tragedy that was also 25 years ago. It was an event witnessed by a 24-year-old Gerard Way, who saw it not just as the tragedy it was, but as something apocalyptic. He decided to live his life like the world could end and formed My Chemical Romance to make a positive difference, which is a beautiful thing to have come from something so terribly horrible. It should also be noted that September 11th also led Jimmy Eat World’s Bleed American to be briefly renamed simply Jimmy Eat World, as their label felt that maybe an album including the words “Bleed” and “American” may not be the best choice, given what the country was experiencing.

Also of note, given the setting, is that the Arizona Diamondbacks won their only World Series championship on the very field that hosted Sunday night’s show. Maybe important, but definitely not as important as My Chemical Romance’s third album, the operatic The Black Parade, which is turning 20 this year. It was performed in its entirety in the properly rock-operatic way with one of the most-impressive stage shows any band has put on, arguably placing it alongside Pink Floyd’s original “The Wall Tour” in its scope and grandeur.

Jimmy Eat World: A Home-state Victory 25 Years in the Making

Jimmy Eat World hail from Mesa, AZ, so their opening performance playing their 2001 masterpiece Bleed American in full was a well-deserved victory lap for these hometown heroes to play to a sold out Chase Field, just 18 miles from where their career started. You could tell from the images of the band cast bigger than life on the giant screens to the left and right of the stage throughout their set that the moment meant a lot to them — something lead singer and chief songwriter Jim Adkins noted during their performance.

Despite being an Arizona transplant, I too felt a pride in watching them perform their most-celebrated album from start to finish within distance of the tiny venues and bars where they started. They deserved a celebratory moment like this and made the most of it during their hour-long set. Hits like “A Praise Chorus,” “The Middle,” and “Sweetness” had people out of their seats, singing and dancing, feeling the moment with the band. Though not a single, “Hear You Me,” the band’s ballad about fans Mykel and Carli Allan, whose tragic deaths inspired the lyrics, had the ballpark lit up with cell phone lights for the first time in the evening. (The sisters also inspired Weezer’s “Mykel and Carli.”) People had tears in their eyes as they sang along. It was special. There’s no other way to put it.

A towering vertical concert screen dominates the dark stadium, showing the drummer seated behind his kit beneath cool blue stage lighting. — **Zach Lind**, drummer of **Jimmy Eat World**, wearing a “Jimmy” jersey while projected larger than life on a video screen during the band’s home-state performance at Chase Field. **Audience photo by:** Katherine Amy Vega

Upon completing the album play, Adkins noted that they still had a few more minutes left in their set and proceeded to run through “Big Casino” (from 2007’s Chase This Light), “Work,” and “Pain” (both from 2004’s Futures). They group took a collective arm-in-arm bow to rapturous applause before departing the stage. For Jimmy Eat World’s core four of Adkins, rhythm guitar player Tom Linton, bassist Rich Burch, and drummer Zach Lind, I hope this moment felt as triumphant to them on the stage as it did to those of us in the audience.

My Chemical Romance: Death, Fire, and The Black Parade Reborn

We are a month and a half shy of that aforementioned 20th anniversary of My Chemical Romance’s undeniable masterpiece The Black Parade (released on October 20, 2006), and the band performed the album from start to finish. This was, of course, not just an album playthrough, but a full-fledged theatrical performance as well, and so it is difficult to properly sum up what this experience was like without giving a beat-for-beat textual reenactment of it.

Instead, here are the highlights without any unnecessary commentary on what the visuals of the performance meant:

The band members lining up to each receive medication from a nurse prior to the first song
Large, Big Brother-esque video screens broadcasting appropriately Orwellian images and videos
A man on fire running across the stage
Gerard Way singing to a severed head in an operatic emo reimagining of Hamlet’s churchyard soliloquy (you know, “Alas, poor Yorick, I knew him Horatio”)
Huge bursts of fire rising into the sky and practically nipping at the park’s roof

Then came the closing moments of their set’s first act, as the whole stage was slowly engulfed in flames as Way passionately sang, “I am not afraid to keep on living/I am not afraid to walk this world alone,” with the heat turned up, literally and figuratively, around them.

What was also on display but not a part of the show per se was how hard the band was working to make it all look and feel as incredible as it was. One could see from any vantage point how much they were all giving the audience: fake blood, but real sweat and tears.

The second act featured the band out of costume, performing a run of songs from throughout the rest of their catalog on a smaller stage in the middle of the crowd. Despite there being thousands in attendance to witness it, this second half felt smaller, more intimate.

Dressed much more casually, this felt like we were all spying on a club gig by the band. They dedicated their third song of the encore “Boy Division” to “The Butcher,” referencing former tourmates Every Time I Die’s guitar player Andy Williams. He was also a professional wrestler under the name “The Butcher,” who tragically died the night before after collapsing at a wrestling event. Other closing highlights included the tour debut of “The Only Hope for Me Is You” and the band’s first-ever performance of “The Light Behind Your Eyes,” from Number Three of the Conventional Weapons series of previously unreleased material, to close out the show.

Anniversaries are moments to reflect on what it all meant, and why it still matters now. Jimmy Eat World and My Chemical Romance both reminded us that it matters because the music connected with our hearts and our souls and continues to resonate. It touched something inside all of us and stayed there, like a protection from the pain the world can give us, whether it be the untimely deaths of friends or one of the most horrific and tragic events in our nation’s history. It reminds us that even when it feels like everything is descending into chaos, we should sing loudly as a rebuke of the worst of our world: “I am not afraid to keep on living!” That is a gift we should all hold dear, even when we have to sometimes walk this world alone.

Photo Credit: Bryce Hall

Concerts, News, Photo Galleries, Reviews

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

July 21, 2026 Ali Crimson 2 Comments

Jump to Photo Galleries

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.

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.

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.

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.

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.

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.”

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.

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.

“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.

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.

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.

“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.

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.

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.

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.

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.

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

Photo Galleries

Photographer: Mark Greenawalt

View Separately

Evanescence

Spiritbox

Nova Twins

Evanescence, Spiritbox, Nova Twins – Talking Stick Resort Amphitheatre 7-15-2026

Photography © Mark Greenawalt.
All Rights Reserved

Concerts, Media, Photo Galleries, Reviews

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

June 24, 2026 Ryan Novak 1 Comment

Jump to Photo Galleries

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

Stars

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

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

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

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

View full Stars photo gallery below

Broken Social Scene

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

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

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

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

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

View full Broken Social Scene photo gallery below

Metric

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

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

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

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

Photo Galleries

Photographer: Katherine Amy Vega

View Full Photo Sets:

Metric

Broken Social Scene

Stars

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

Metric, Broken Social Scene, & Stars – Arizona Financial Theatre 6-17-2026

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

Concerts, Reviews

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

May 6, 2026 Ali Crimson Leave a comment

Jump to Photo Galleries

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 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.

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.

“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.

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.

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?”

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.

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

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.

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.”

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.

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.

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.”

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

Photo Galleries

View Separately:

BOYS LIKE GIRLS

iDKHOW

Arrows in Action

BOYS LIKE GIRLS, iDKHOW, & Arrows in Action – Marquee Theatre 4-29-2026

Concerts, Reviews

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

April 6, 2026 Jasmyne Haskie Leave a comment

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

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

Don’t Miss It: Buy Tickets

Akia and 4Batz Set the Tone

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

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

An April Fools’ Moment Kicks Off Mariah’s Set

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

Hearts Sold Separately Themes Come to Life on Stage

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

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

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

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

Crowd Participation Becomes the Show

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

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

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

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

Concerts, Reviews

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

March 12, 2026 Ali Crimson Leave a comment

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.

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.

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.

“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.

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.

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.

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.

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.

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.

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.

“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.

“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.

“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.

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.

“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.

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.

View this post on Instagram

A post shared by Desert Diamond Arena (@ddarenaaz)

Concerts, Reviews

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

February 18, 2026 Ryan Novak Leave a comment

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

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

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

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

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

Cat Power in 2026

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

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

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

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

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

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

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

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

Get Cat Power tickets now!

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

Concerts, Reviews

REVIEW: “This Is for ONCE” – TWICE Turn Their First Arizona Show Into a Shared Celebration (1-28-26)

January 30, 2026 Jasmyne Haskie Leave a comment

PHOENIX — Celebrating a decade as a group, TWICE brought their “THIS IS FOR” World Tour to Mortgage Matchup Center, transforming their long-awaited Arizona debut into a night rooted in belonging, empowerment, and shared emotional release.

Ten: The Story Goes On (Cast Version) — **TEN: THE STORY GOES ON** (Cast Version), the 5th Korean studio album (11th overall) by TWICE. Released on October 10, 2025 to commemorate the group’s 10th anniversary. Available in Cast, Episode, & Party Lovely Versions

Marking the group’s 10-year anniversary, the performance felt less like a routine tour stop and more like a dedication to ONCE, a fandom built on mutual support, emotional connection, and collective growth. From large-scale production moments to deeply personal solo stages, TWICE delivered a show that honored its history while fully embracing Phoenix as part of the group’s journey.

This was TWICE’s first concert in Arizona, and that milestone shaped the tone of the entire evening — one defined by gratitude, intention, and a clear effort to make Phoenix feel seen, welcomed, and woven into the group’s story.

Community Before the Lights Went Down

Long before TWICE took the stage, a sense of community had already taken hold. Outside the venue, fans exchanged handmade bracelets, offered trinkets, volunteered to take photos for strangers, and struck up conversations with ease. When asked why they gave so freely without expecting anything in return, fans cited joy, connection and anticipation, offering something to look forward to after long days at work, school, hospitals or hours spent driving in from out of town.

That communal energy extended beyond giveaways. Informal dance battles broke out as short song clips played, drawing spontaneous participation. Others filmed TikToks together, interviewed one another and laughed while waiting in line. The experience felt participatory before the concert had even begun.

Inside the arena, fan fashion reflected TWICE’s longevity and cultural reach. Attendees recreated looks from different eras of the group, referencing past music videos and performances. Red hoods nodding to earlier releases appeared throughout the crowd alongside pink jumpsuits, coordinated red outfits, skirts paired with work ties and custom Candy Bong light sticks. Many were personalized with charms, teddy bear ears, wrist straps, or bedazzled designs, while some fans wore illuminated kitten ears.

Act 1: A Confident Opening Statement

As the lights rose for Act 1, it was immediately noticeable that only eight members stood on stage. Jeongyeon’s absence was apparent before a single note was sung, subtly altering TWICE’s familiar formation and signaling that the night would carry resilience and adaptation alongside celebration.

TWICE opened with “THIS IS FOR,” igniting the crowd under blue and yellow lighting. Fans sang and danced from the first moments, establishing a reciprocal exchange of energy that filled the arena. “STRATEGY” followed, quickly becoming a call-and-response moment as the repeated “go” prompted the audience to respond in unison. “MAKE ME GO” and “SET ME FREE” sustained the momentum, keeping the opening run tightly paced and high-energy.

A major visual shift arrived during “I CAN’T STOP ME.” Red lighting washed over the stage as dancers filled the space and a central platform rose, marking the first large-scale production moment of the night. The staging amplified the song’s central tension of desire versus restraint, heightening the urgency that defines the track.

After the opening run, the group paused to formally greet Phoenix. When the camera landed on Jihyo, the arena erupted with cheers and chants of her name. Smiling, she teased the crowd by asking, “Who am I?” before laughing and greeting the audience, effortlessly establishing command of both the stage and the room.

Introductions continued across the group, as TWICE welcomed Phoenix fans into its first Arizona show. Each member received waves of cheers, reinforcing the affection and anticipation that filled the venue.

When Dahyun appeared on screen, the crowd erupted into loud chants of “Dubu, Dubu.” Laughing, she responded, “Wow, the Phoenix energy is so high,” before addressing the audience more seriously. She explained that due to an ankle injury, she would be performing seated, reassuring fans that she was otherwise healthy.

Sana followed with warmth and honesty, acknowledging both the crowd’s anticipation and the group’s circumstances. Mina offered a brief greeting, keeping the introductions moving before the tone shifted.

Jihyo then addressed the audience with transparency, explaining that Jeongyeon had been receiving treatment backstage earlier in the day and was ultimately unable to perform. She asked the crowd to enjoy the show to the fullest in Jeongyeon’s place, which was met with resounding cheers.

Act 1 concluded with “OPTIONS” and “MOONLIGHT SUNRISE.” The latter softened the atmosphere as cosmic visuals of galaxies and stars filled the screen, allowing the audience to collectively pause before transitioning into the next act.

Act 2: From Cosmic Reset to Commanding Power

Between Acts 1 and 2, background dancers took over under strobe lighting, building tension through synchronized movement before the energy surged again.

Act 2 opened with “MARS,” launching with a high-impact introduction as TWICE appeared elevated on a platform in darker, earth-toned outfits under purple lighting. Despite performing seated, Dahyun remained fully engaged, matching choreography through upper-body movement and interacting with fans even when facing away from the group.

The set continued with “THE FEELS,” “GONE,” “CRY FOR ME,” “HELL IN HEAVEN,” and “RIGHT HAND GIRL.” “CRY FOR ME” stood out visually and emotionally, drenched in red lighting and carrying a message of resilience and empowerment. During “RIGHT HAND GIRL,” fan interaction increased again, reinforcing the reciprocal energy between TWICE and ONCE.

Throughout the night, one phrase echoed repeatedly: “This is for ONCE. This is for TWICE.”

Act 3: Individuality at the Core

The transition into Act 3 began with a live band moment positioned opposite the main stage. A guitar solo under red lighting and flame effects played out as the screen lowered in sections, creating a conversational exchange between performers and crowd.

Act 3 centered on solo stages, allowing each member’s individuality to come fully into focus. Transitions were seamless, maintaining momentum throughout the section.

Tzuyu opened with “DIVE IN,” staged in blue lighting and structured around a metal prop that confined both Tzuyu and her dancers, reinforcing the song’s emphasis on control and intentional intimacy. Mina followed with “STONE COLD,” a slow, emotionally weighted performance under warm orange lighting. Dressed in white and surrounded by black-clad dancers, the visual contrast evoked a striking Black Swan–White Swan dynamic that visibly moved audience members.

Nayeon shifted the energy with “MEEEEEE,” performing high above the crowd on a raised platform alongside multiple dancers. A duet moment highlighted her confidence and command. Jeongyeon’s “FIX A DRINK” was not performed due to illness, making Dahyun’s “CHESS” one of the most memorable moments of the night. Dahyun opened the song seated at the piano and proceeded to deliver an intimate performance defined by restraint and poise.

Chaeyoung followed with “SHOOT (Firecracker),” performing in a white dress against black-clad dancers as playful doodle-style visuals appeared above her. Jihyo drew one of the loudest crowd responses of the night with “ATM,” her hip-hop-influenced choreography commanding the arena. Sana’s “DECAFFEINATED” became a shared moment as the audience sang along to the repeated refrain.

Momo closed the solo section with “MOVE LIKE THAT,” delivering a dance-driven performance punctuated by a final lift that saw her raised into the air by two dancers. The section concluded with “TAKEDOWN,” a track from KPop Demon Hunters, featuring Chaeyoung and Jihyo. Originally intended as a trio, Jeongyeon’s absence was felt but did not diminish the moment’s intensity.

Act 4 and Encore: Where TWICE and ONCE Became One

Before Act 4, a high-fashion VCR played across the lowered screen, featuring editorial-style visuals of the members. Cheers peaked whenever Jeongyeon appeared, underscoring how strongly she was missed.

Act 4 opened with “FANCY,” reigniting the arena. TWICE appeared in coordinated yet individualized outfits in earthy tones of brown, sage and white, with no two looks identical, yet cohesive as a whole. The momentum continued into “WHAT IS LOVE?” and “YES OR YES,” sending the arena into full motion as nostalgia swept through the crowd.

During “YES OR YES,” Jihyo stepped fully into her role as leader, directing the audience with ease as fans followed her movements instantly. “DANCE THE NIGHT AWAY” followed, transforming the venue into a sea of synchronized light sticks that visually reinforced the collective energy building throughout the night.

TWICE lingered on stage, engaging directly with the audience. Jihyo mused that Phoenix may have surpassed Los Angeles in cheering, drawing explosive reactions. Nayeon acknowledged that the crowd was already standing before asking them to do so, then asked, “Phoenix, you have waited a long time for us. Are you ready to burn it all up?”

As the audience completed lyrics in unison, the moment seamlessly transitioned into “FEEL SPECIAL.” When TWICE declared, “This is for ONCE,” the crowd answered, “This is for TWICE.” The exchange felt ceremonial and earned.

The encore carried that energy forward. “FEEL SPECIAL” opened the final stretch as fireworks filled the screen and fans sang along, hugging, crying, raising lightsticks, and recording the moment. A dance cam highlighted fans throughout the arena, reinforcing ONCE’s role as active participants rather than spectators.

Before closing the night, TWICE promised to return to Arizona with Jeongyeon on stage. This statement was met with emotional applause. The fan-chosen closer, “ALCOHOL-FREE,” ended the night on a celebratory note. Rarely performed on tour, its inclusion felt like an intentional, final gift to Phoenix.

TWICE’s first Arizona performance was more than a concert. Throughout the night, the group deliberately bridged the distance between artist and audience, transforming a packed arena into a space where fans felt seen and emotionally present.

In Phoenix, TWICE and ONCE didn’t simply meet.

They became one.

Featured (top) photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN

Concerts, Media, Photo Galleries, Reviews

REVIEW: The Format at Crescent Ballroom Deliver Healing and Solidarity (1-24-26)

January 25, 2026 Katherine Amy Vega Leave a comment

Jump to Photo Gallery

View Setlist

PHOENIX — For a band whose early work has become synonymous with mid‑2000s indie‑pop nostalgia, The Format proved they’re as essential as ever during a heartfelt mid‑day performance at Crescent Ballroom.

Limited to fans who pre-ordered the new album Boycott Heaven, and originally planned as an intimate “in‑store” in the parking lot of Stinkweeds Records, the show was relocated due to weather concerns. The move indoors may have averted rain that never came – but it also meant missing out on a planned surprise rooftop performance, a Beatles‑style moment that would have overlooked the Stinkweeds lot and lived in Phoenix music lore.

There was an unmistakable buzz in the room. With 500 fans packed into the sold‑out Crescent, the afternoon felt like a reunion of friends and kindred spirits. It marked the second of two Phoenix appearances, following an in‑store at Zia Records the day before. These homecoming events bookended the start of a limited run of shows, with additional stops planned in Long Beach, Seattle, and New York City.

Backed by original live members Don Raymond, Jr. on bass and Marko Buzard on guitar, along with Will Noon (of Ruess’ other band, fun.) on drums, Nate Ruess and Sam Means offered a performance that was honest, uplifting, and deeply connective.

Their bond with the crowd ran deep, bolstered by the band’s willingness to speak directly about the times. The Format make no secret of their views – and based on the crowd’s reaction, most were right there with them.

From the moment they launched into the soaring “Back To Life,” the band leaned into tracks from their long‑awaited new album, released just the day before on January 23. The setlist flowed naturally from the upbeat “Shot In The Dark” to the candid “Depressed” and “Right Where I Belong.”

Sam Means began the first verses of the title track “Boycott Heaven,” a special moment highlighting his occasional solo vocals, before Ruess belted, “It’s a long line / And it bleeds into the pavement / Sixty-something words to save them / From this recent misery,” stirring goosebumps throughout the room.

During “Holy Roller,” the crowd softly sang along with a familiarity that seemed to call forth something rare and profound: a shared sense of energy and connection not felt in years. Since the song’s October 6, 2025 release (following its live debut at their first reunion show on September 27 at Arizona Veterans Memorial Coliseum), it has become something of an anthem – not just a song people recognize, but one people also feel deeply. The song’s message, a critique of passive faith that urges immediate action, felt all the more resonant given the times.

Boycott Heaven’s announcement, cover art (featuring a crystallized Virgin Mary sculpture by Australian artist Kyle Montgomery), and title stirred some controversy among religious fans. One commenter wrote, “Ugh I used to love your music. This picture of whom I’m assuming was Mary absolutely breaks my heart and infuriates me at the same time.” Another defended the band, saying, “Don’t always judge an album by its name or artwork… it could have a deeper meaning than any of you holy molys think.”

The Format have long served as a beacon for fans navigating dark times. In an era dominated by hyper‑independence and the disconnection caused by social media, their music offers something increasingly rare: community. Arizona’s local scene has been deeply impacted by the loss of figures like Stefan Pruett (Peachcake) in 2020 and Jonah Foree — known for his work in Ikonoklast, Goth Brooks, and HARDWIRE — in 2022. These were artists who brought two very different music communities together, and their absence is still felt. The return of The Format helps begin to fill that gap by re‑establishing the connective tissue that once held disparate music communities and cultures together.

Their new track “Shot In The Dark” seems to reference kintsugi – the Japanese art of repairing broken pottery with gold – with the lyric:

“Me and my friends, we used to fall apart / And piece ourselves back together like a work of art.“

It’s an apt metaphor for the night itself.

Ruess addressed the pain of the current moment in a powerful monologue before the encore, referencing a police shooting that had occurred earlier this day – the fatal shooting of 37‑year‑old Minneapolis ICU nurse Alex Pretti by federal officers. Visibly emotional, he told the crowd:

“It’s amazing just being here in Arizona for the release of this album… It’s great to play shows, and you make music, and… um… usually it’s like a good time, then sometimes you realize… just, awful fucking shit is happening, everywhere.” (Ruess makes a lengthy pause.)

“But uh… they fucking shot somebody again today. And…”

When a fan shouted, “FUCK ICE,” Ruess echoed it:

“Yeah, of course… fuck ICE… …everyone fucking thinks fuck ICE. FUCK them.”

“Anyways… they fucking shot somebody again and I can’t fucking take this shit anymore. I can’t take everything that’s going on in the fucking world. Nine fucking times. It’s hard to… it’s hard… it’s HARD to get up here and just have a straight face. Uh, you know… but at the same time, that’s what music is for. Sometimes it’s there to take us away from the fucking awful shit that’s fucking happening all around us.”

“We work hard, all of us, all of you work hard… you come to see a concert. Sometimes you come to get taken away from shit.”

That emotional release came in the form of the final song of the set – an unreleased track called “The Bar is Set So Low,” written a year ago but excluded from the album. The song’s somber lyrics cut deep:

“Get away, get away, get away cause the fear has gotten whole, and I’m struggling. / It’s a shame, it’s a shame, it’s a shame that the bar is set so low. / I’m caught under it.”

Despite its heaviness, the performance was filled with solidarity, especially when the crowd locked into the line:

“There is one goal. For all of our brothers, we must lighten the load.“

That sentiment reflects something Ruess recently shared in an interview with Minnesota Public Radio’s station The Current: “Our goal as human beings is to lighten the load for our brother.”

The Format deliver both clarity and comfort, unafraid to speak hard truths while giving listeners something to hold onto.

In response to the new material, one Facebook group commenter summed it up simply:

“Now that sounds like some classic Format.“

Thankfully, unlike The Beatles, this was not their final live performance together – just the beginning of something new. The Format’s return both satisfies nostalgia and reminds us what’s been missing. At Crescent Ballroom, they reawakened a feeling of joy, of belonging, of catharsis that many in the room hadn’t felt in years. And for a few unforgettable hours, it felt like we were all being pieced back together again.

View Setlist

Photo Gallery

The Format – Crescent Ballroom 1-24-26

Pages: 1 2

Sur Back Finds Joy on the Dance Floor

Melanie C Enters the Ring

Every Version of Melanie C in One Show

Sporty Spice Never Really Left

Familiar Songs Become Something Else

Another Prime

Photo Galleries

Melanie C & Sur Back – House of Blues San Diego 9-25-2026

Jimmy Eat World: A Home-state Victory 25 Years in the Making

My Chemical Romance: Death, Fire, and The Black Parade Reborn

Nova Twins

Spiritbox

Evanescence

Photo Galleries

Evanescence, Spiritbox, Nova Twins – Talking Stick Resort Amphitheatre 7-15-2026

Stars

Broken Social Scene

Metric

Photo Galleries

Metric, Broken Social Scene, & Stars – Arizona Financial Theatre 6-17-2026

Arrows in Action Open With Pure Pop-Rock Joy

iDKHOW Bring Playful Theatrics and Retro Swagger to Tempe

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

Photo Galleries

BOYS LIKE GIRLS, iDKHOW, & Arrows in Action – Marquee Theatre 4-29-2026

Don’t Miss It: Buy Tickets

Akia and 4Batz Set the Tone

An April Fools’ Moment Kicks Off Mariah’s Set

Hearts Sold Separately Themes Come to Life on Stage

Crowd Participation Becomes the Show

The band assembles and Josh Freese returns

Visuals as an instrument

Peak intensity and set highlights

The final stretch: “Closer” to the closing moments

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

Peeling back the decades

Cat Power in 2026

Community Before the Lights Went Down

Act 1: A Confident Opening Statement

Act 2: From Cosmic Reset to Commanding Power

Act 3: Individuality at the Core

Act 4 and Encore: Where TWICE and ONCE Became One

Photo Gallery

The Format – Crescent Ballroom 1-24-26

News & Reviews from the Fiery Mosh Pits of Arizona