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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.
Mariah the Scientist “Hearts Sold Separately” tour dates – Get Tickets
Akia and 4Batz Set the Tone
Akia opened the night with a smooth and atmospheric set that leaned into a sensual R&B sound. Her performance emphasized connection and gradually drew the crowd into the night’s slower and more intentional pace.
4Batz followed with a more performance driven set, incorporating background dancers that added movement and structure to the stage. His delivery carried a dynamic presence while maintaining the same R&B foundation. His viral track “Act II: Date @ 8” stood out as a key moment and drew one of the first strong crowd reactions of the evening.
An April Fools’ Moment Kicks Off Mariah’s Set
Mariah the Scientist’s set opened with a playful April Fools’ moment, as her cousin appeared on stage lip syncing to “United Nations + A Thousand Ways to Die.” Mariah soon emerged from the side, revealing the joke with a lighthearted “April Fools’, baby,” which immediately established a sense of personality and ease that carried throughout the performance.
Mariah the Scientist’s cousin opens the show with an April Fools’ fake-out before Mariah takes the stage in Phoenix. Audience photo by: Jasmyne Haskie
Hearts Sold Separately Themes Come to Life on Stage
As the set moved forward, the structure of the show began to reflect the emotional themes present in her fourth studio album Hearts Sold Separately (2025). The album’s imagery, often associated with love, detachment, and emotional protection, translated visually through soft pink tones across the stage, contrasted by green elements that mirrored the toy soldier motif seen in her album artwork. Mariah and her dancers wore coordinated green outfits, subtly reinforcing the visual contrast and tying the performance back to the album’s aesthetic.
Soft pink visuals and Mariah the Scientist’s coordinated green look echo the Hearts Sold Separately album aesthetic at Arizona Financial Theatre in Phoenix. Audience photo by: Jasmyne Haskie
Songs like “All of Me” quickly pulled the audience in, with strong singalongs filling the venue. Rather than relying on large scale production elements, the show placed emphasis on delivery and presence, allowing each track to stand on its own. This approach gave space for the emotional weight of the music to resonate more clearly with the crowd.
A wide view of Arizona Financial Theatre shows Mariah the Scientist centered and isolated onstage as the crowd sings along, underscoring the show’s intimate, vocals-first feel. Audience photo by: Jasmyne Haskie
Throughout the set, moments of interaction helped shape the overall experience. During “Not a Love Song,” Mariah paused to acknowledge the fans, telling Phoenix, “I like the vibe,” a brief exchange that reflected the mutual energy in the room. “Beetlejuice” and “Always and Forever” became standout crowd pleasers, with fans singing along in full, creating a shared atmosphere that extended beyond the stage.
Mariah the Scientist holds eye contact with the crowd during an intimate stretch of her Phoenix set. Audience photo by: Jasmyne Haskie
The pacing allowed for shifts in tone without feeling abrupt. During “Good Times,” lighting transformed the venue with colorful effects that added contrast to the otherwise minimal stage design. Smaller details, including guitarist solos and brief choreography with her dancers, added variation while keeping the focus on the music itself.
Colorful lasers and spotlights reshape the room during a lighting-heavy moment on Mariah the Scientist’s Hearts Sold Separately Tour stop in Phoenix. Audience photo by: Jasmyne Haskie
Crowd Participation Becomes the Show
As the performance progressed, participation became more pronounced. During “All I Want” and “In Pursuit,” Mariah led a call-and-response that carried into “Like You Never,” with the crowd echoing back in unison. Later, during “2 You”, she raised two fingers in the air as the intro played, a cue that the crowd picked up on instantly.
In a haze-filled moment, Mariah the Scientist gestures to the audience and the crowd answers back, reinforcing the call-and-response energy of the set. Audience photo by: Jasmyne Haskie
The latter portion of the set leaned into nostalgia, with songs like “Brain,” serving as a clear acknowledgement of longtime listeners, leading into one of the night’s most defining moments. Mariah paused to take requests directly from the audience. Fans called out songs, and she selected tracks like “Church” and “77,” turning the set into a more collaborative experience and reinforcing the connection that had been building throughout the night.
She closed with “Burning Blue” and “Reminders,” ending the performance on a reflective note that aligned with the themes carried throughout the set.
A blue-lit wide shot captures the late-set mood as Mariah the Scientist winds down the night. Audience photo by: Jasmyne Haskie
Mariah the Scientist’s Arizona stop on the “Hearts Sold Separately Tour” offered a performance that extended beyond a standard concert format. Through cohesive visuals, intentional pacing, and direct audience interaction, the show reflected the emotional themes of her music while creating a shared experience within the room. The result was a performance that felt immersive, personal, and grounded in both artistry and connection.
Nine Inch Nails turn the center-stage platform into a red-lit storm of fog and light. Audience photo by: Katherine Amy Vega
PHOENIX — An impressive crowd gathered at the Desert Diamond Arena for opener Boyz Noize and the legendary Nine Inch Nails. Bass pounded through the speakers as the opening set welcomed attendees to a darkened room, with occasional red lighting shifting between the center of the room, a shrouded, large box-shaped object sitting in the growing sea of fans.
Nine Inch Nails turn the center-stage platform into a red-lit storm of fog and light. Audience photo by: Katherine Amy Vega
The room transformed as the walls were shed to reveal Trent Reznor playing the gentle notes to “(You Made It Feel Like) Home” (2022). His warm voice invites us into a feeling of intimacy while being surrounded by other fans in the shadows, gazing into the gold light holding him. The experience felt like I was the only one in the room, though when I looked, the arena had little room to spare.
Nine Inch Nails open the night with Trent Reznor alone at the center-stage rig as the crowd closes in around him. Audience photo by: Ali Crimson
The band assembles and Josh Freese returns
The warm light became cold, brighter, and sterile as the music transitioned to “Non-Entity” (2007). Guitarist/keyboardist Robin Finck and bassist Stu Brooks appeared, coordinated in all black with Reznor, to loud cheers.
Nine Inch Nails perform on the center stage as the crowd packs Desert Diamond Arena in Glendale, Arizona (March 6, 2026). Audience photo by: Katherine Amy Vega
“Piggy” from the 1994 The Downward Spiralalbum 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.
Nine Inch Nails frontman Trent Reznor grips the mic in a tight, moody close-up within the stage haze surrounding him. Photo by:Sara Perez
The glow allowed the room to slip into darkness, leaving only a screen at the front of the room showing a drum solo that marked the entrance of newly returned drummer Josh Freese, starting only on the North American leg of the tour. The curtain that once showed Freese lifts, showing the entire band surrounded by sheer veils.
Nine Inch Nails project a stark black-and-white close-up of the drummer Josh Freese across the sheer curtains during the early set. Audience photo by: Ali Crimson
Visuals as an instrument
Live projections of each band member are shown on the sheer curtains as the band blasts into “Wish” (1992). New visuals come with each song; “March of Pigs” (1994) is the first time soundwaves are projected. A dramatic piano piece guides the performance into “Reptile” (1994) a standout at the sixth song in their set, the introduction contrasting heavily, grinding with aggressively flashing green lights as white whips across the screens with the rise and falls of the music.
Nine Inch Nails perform behind shimmering sheer curtains as green light and abstract projections wash over the stage. Audience photo by: Katherine Amy Vega
Peak intensity and set highlights
“If there is a hell, I’ll see you there,” Reznor sings to us in the foggy, red-lit arena, as the audience claps along with “Heresy” (1994). Lights flash chaotically as the lyrics “God is dead, and no one cares” echo into every inch of the space. Shifting away from the earlier chaotic lights, the room darkens to a single spotlight on Reznor, with smaller projections on the walls between the band members that look like a house of mirrors showcasing dancing white silhouettes of him performing “Copy of A” (2013) from Hesitation Marks.
Nine Inch Nails perform behind sheer curtains as towering shadows and silhouettes ripple across the stage. Audience photo by: Katherine Amy Vega
The energy high, beneath the red and blue flashing lights during “Gave Up” (1992), a small, seemingly friendly mosh pit begins on the floor level. The room is one with Nine Inch Nails, every moment seeming perfectly executed to the plan of long-time industry professionals.
Nine Inch Nails performing at the O2 Apollo Manchester on June 20, 2022. Photography: aliina s. (CC BY 2.0), via Wikimedia Commons
Drowned in red and fog, almost by magic, Reznor has returned to the smaller center platform. Electric fuchsia zaps and flashes in the foggy clouds surrounding the stage as “Vessel” (2007), from Year Zero, pumps through the veins of every listener. The music surges beneath the skin.
Nine Inch Nails ignite the center stage in a burst of white light as the crowd surrounds them. Audience photo by: Katherine Amy Vega
The final stretch: “Closer” to the closing moments
Entering the final songs of the set list, the most popular song of Nine Inch Nails’ nearly 40-year career, “Closer” (1994) starts and engulfs the room in purple, fuchsia, and white, flickering to the heat of the music. The feeling this song gives is undeniable; the words are on the lips of everyone there.
Nine Inch Nails light up the center stage as rippling, curtain-like beams pattern the crowd. Audience photo by: Katherine Amy Vega
“Parasite” (2010), originally by How To Destroy Angels (a band featuring Reznor and his wife Mariqueen Maandig Reznor) poured fresh green lights and fog down the room. The projections return with close-ups of Reznor, where I note a link chain around his neck I hadn’t noticed before. In this song, Trent Reznor’s vocals have a more digitized effect than in previous songs in the set.
Nine Inch Nails bathe the arena in red as sharp white beams cut through the haze over the center stage. Audience photo by: Katherine Amy Vega
“As Alive As You Need Me To Be” (2025), off the newest album TRON Ares: Divergence(a 24-track soundtrack for a movie of the same name) plays with coordinating white and red flashing lighting. The full band returns to play “Mr. Self Destruct” (1994) with the entire stage flashing, energy peaking — a song they had played so many times before, and it shows only with the smoothness of their performance. It is practiced to perfection.
Nine Inch Nails surge into the open stage as the curtains lift, flooding the room with light, haze, and towering silhouettes. Audience photo by: Ali Crimson
“Less Than” (2017) raises the sheer curtains that provided the veiled cover for the entire show, signaling that it is one of the final three songs of the evening. This is the one and only time I believe Reznor plays a tambourine the entire show, which I did not expect.
“Head Like a Hole,” “Hurt,” and an unexpected interruption
The closing songs for the evening are fan favorites “Head Like A Hole” (1989), off Pretty Hate Machine, and “Hurt” (1994) from The Downward Spiral. “Head Like A Hole” is one of the most recognizable songs of the band’s extensive catalog, inspiring dozens of covers over the decades.
Nine Inch Nails blast through a bright, blue-lit moment as Trent Reznor raises a hand to the crowd at Staples Center in 2013. Photography: Al Pavangkanan (CC BY 2.0), via Wikimedia Commons
At the beginning of “Hurt”, a fight broke out in front of the stage. As it was yet to be broken up, Reznor stopped the song and spoke directly to the people saying, “Hey we’re not here for this shit man, hey HEY!! There’s enough bullshit happening out there, we don’t need it happening in the fuck here.” He turned, awaiting the resolution of the problem before continuing the performance after his very Dad-like scolding.
Nine Inch Nails push the full-band set into a haze of diagonal beams and drifting smoke as the crowd surges at the front. Audience photo by: Ali Crimson
“Hurt” closed the show, giving us a finale of Reznor’s emotive lyrics and vocals to send us off into the night. There was no encore, and one wasn’t needed.
Nine Inch Nails leave the arena glowing as the NIN logo lingers on the curtains after the show. Audience photo by: Katherine Amy Vega
Peeling back the decades
You would think this performance would be one of simple nostalgia, but the music felt as fresh as when I listened to each release by NIN throughout the decades. The professionalism of this show was unmatched, smoothly transitioning between stages like the members had teleportation powers. The industrial music coursed through my veins with a unique awakening, the memorized words flowing from my tongue. The Peel It Back tour is an apt title, as this set list peels back the layers of years, and it is new again.
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.
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.
The Slipcase Edition of The Greatest, Cat Power’s 2006 studio album, photographed sealed in its original shrink wrap with promotional stickers intact.
Cat Power in 2026
“Gracias,” said simply with a brief bow and a sip from a mug of hot tea.
Clad in a bright white ensemble of shoes, pants, belt, shirt, and jacket, she shone with the stage lights upon her, looking like I hope my guardian angel might look like, if such beings exist. As a performer, though, for all of her brilliance, she has never seemed fully comfortable on stage. She is not one for banter either, so throughout her set on Sunday, she simply said “Gracias” and bowed after each song.
Cat Power 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 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.“
Official tour artwork for Cat Power’s The Greatest 20th Anniversary Tour, featuring tour dates and the iconic boxing gloves from the original album artwork.
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), 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.
The arena glows as TWICE’s “THIS IS FOR” World Tour branding fills the screen, setting the tone for a night centered on connection between the group and ONCE in Phoenix. (Photo by Jasmyne Haskie, taken from the audience)
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 onstage with eight members present, their altered formation subtly emphasizing both the group’s adaptability and the emotional weight of the night. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
TWICE is seated across the main platform in coordinated white outfits as the opening act unfolds, bathed in cool blue lighting. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
TWICE fills the arena from a central stage as towering video screens and warm amber lighting surround the crowd, emphasizing the scale and immersion of the production. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
Jihyo of TWICE holds the stage in a poised seated moment, her focus locked on the crowd as the arena responds in full voice. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
Tzuyu of TWICE reaches toward the crowd mid-performance, her movement calm and assured as she commands the stage. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
Mina of TWICE pauses in a sculptural pose following a wardrobe change, spotlighted as haze and low lighting heighten the intimacy of the moment. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
The stage transforms under red lighting as the screen lowers in layered sections, signaling the shift from ensemble spectacle into the solo-focused structure of Act 3 (Photo by Jasmyne Haskie, taken from the audience)
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 of TWICE performs her solo framed by a metal structure, her movements restrained and deliberate against the darkened stage. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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 of TWICE commands the stage during her solo, framed by a close, stylized interaction with a dancer that emphasizes control, precision, and confidence.Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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 of TWICE performs in a white lace dress, contrasted against black-clad dancers during a tightly choreographed solo moment. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
Sana of TWICE performs her solo under warm amber lighting, her movement and expression drawing focus against a darkened arena backdrop Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
TWICE moves through a diagonal formation as Act 4 begins, their individualized styling unified through texture, tone and synchronized movement. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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 stands together on the main stage as fan lightsticks glow throughout the arena, reflecting the collective energy shared between the group and their audience. Photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
TWICE and their dancers take a final bow as confetti fills the arena, closing out the group’s first performance in Arizona. (Photo by Jasmyne Haskie, taken from the audience)
Featured (top) photo credit: JYP ENTERTAINMENT, KYLIE BRENNAN
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.
Stinkweeds Records, where fans who pre-ordered Boycott Heaven by The Format were originally set to see an exclusive parking lot performance.
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.
Don Raymond, Jr. (bassist)
Marko Buzard (guitarist)
Will Noon (drummer)
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.“
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…”
“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:
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.
Mesa, AZ — The Ikeda Theater at the Mesa Arts Center showcases the highest level of elite performers and so attracts refined audiences who appreciate talent and bask in emotional experiences. On this Sunday evening, the house was again packed and everyone was dressed to the nines to see Matteo Bocelli, a young Italian who carries the surname of vocal royalty. He has been traveling the world to showcase his own signature sound and to earn the prestige associated with the name.
As the house lights went down, the stage lights began to twirl to a soundscape, heralding a message in multiple languages, perhaps foreshadowing the culturally diverse lyrics that would soon ensue. A spotlight landed on an unassuming man walking onto the stage with a boyish smile and a friendly wave. His ‘GQ’ hair and stylish olive green jacket gave him the appearance of the charismatic crooners of the timeless ages.
He had the demeanor of a close, personal friend who just wanted to humbly share his songs in hopes that somebody might like them. He kicked off the show with “Love Like This” and “Naïve” – two upbeat songs from his new album, Falling In Love. It’s safe to say that everybody liked them!
“Falling In Love” album cover
The new album was produced at Bocelli’s home in Tuscany, Italy, with producer Martin Terefe and was just released in September 2025. The album’s style is listed as “a blend of Italian heritage and modern pop,” and that does seem to sum up the song selections in his setlist, which included 10 of the 11 songs from this new album (none from his debut album, Matteo, released two years ago, although the song “Honesty” is often part of his setlist).
Most songs were in English, but several were in his native tongue of Italian. Luckily, music is the universal language that makes translation unnecessary. Every song was a story and the bilingual Bocelli would introduce each one with the back story in English for the American audience. His conversational delivery and, of course, his Italian accent commanded the attention of everyone in the audience.
“I’m so excited to be back in Arizona,” he said, “I love you guys. I love everything about this place… the weather, the temperature… coming from New York, it was pretty cold there.” This reference was to his Thanksgiving appearance three days prior at the Macy’s Thanksgiving Day Parade in New York City. There, Bocelli performed the Lucio Dalla cover of “Caruso,” which would eventually be the closing song of this show.
Some may have incorrectly assumed that he would fill the night with operatic overtures laced with vocal gymnastics at the upper reaches of human abilities. However, his superpower is not what you would expect from The Three Tenors, but instead the precision of tone, the emotional infused melodies, and the relatability of the upper echelon of the world’s pop solo artists. One could easily cite influences of Frank Sinatra, Julio Iglesias, and Elvis Presley from decades before he was even born, to the modern array of artists like Josh Groban, Michael Bublé, and Ed Sheeran.
In fact, Bocelli did a cover of Sheeran’s “Perfect Symphony” and Presley’s “I Can’t Help Falling In Love” during his set. All of this is not to say that he has limited range and power. There were moments when he channeled the vocal prowess of his tenor father and his upper range seemed to be where he found his most iconic sound. Later there were moments of soft falsetto on the other end of the spectrum. His singing evolved through each song to adapt to the array of styles, and though moments were reminiscent of his idols, he introduced his own unique blend.
The backing band was a foursome that were introduced by first name only as Andrea on guitar, Eduardo on drums, Patricia on bass, and Fabio on keyboards . For the majority of the set, Bocelli was the frontman with the band lined up on the risers behind him, but for the song “Glimpse of Happiness,” he sat down at the piano as the fifth musician. “I’ve been studying (piano) for many years, without any good results,” he joked, “But at least I enjoy it a lot.” He was humble, but very talented and delivered a beautiful song after telling the story of his collaboration on it with Jon Batiste. He would later share his guitar playing abilities too on the song “Angel In Disguise” as part of the three song encore.
The dynamics of the set ebbed and flowed with ballads and songs meant for dancing. Bocelli turned on the charm when he drifted into the audience to samba dance with adoring fans as he sang the classic Italian song “Quando, Quando, Quando.” The energy of the crowd flowed into the next song, “Tempo,” which was so fun to listen to and even more fun to watch as Bocelli tickled the ivories again and bassist Patricia and guitarist Andrea came out front to do solos. The show was devoid of unnecessary pyrotechnics and theatrical tricks of the trade, but chock full of musicianship, candidness, and connection.
The recurring theme of the evening was love. The tour was named “Falling In Love” world tour in support of the new record of the same name that included the song of the same name! A block of three of the new songs had “love” in the title… don’t let the language fool you with the first one, “Amnesia D’Amore,” a song originally written for his father, but after singing on the original demo tape, Matteo asked to keep the song for himself. This was followed by “Loving You” and then the title track, “Falling In Love.” He introduced this song:
“And now the song that gave the title to the album, and the album title is “Falling In Love.” And why this song? Because I thought that it was describing with its title… the whole meaning of the project. It’s about falling in love. I do believe that it’s important to be able to fall in love every day of your life. (pause) I’m a good boy, not in that sense (audience chuckles). But falling love for everything that surrounds us. You know you wake up in the morning and just admire the nature… and simply your love with it… and it makes you happy and it makes you feel fulfilled.”
The handful of cover songs that were mixed in seemed to perfectly complement the character of his originals and of course highlighted his versatility. He introduced “Mi Historia Entre Tus Dedos” as a duet that he recorded with Gianluca Grignani, who had huge success with it in 1994 in Italy (note that Bocelli would not be born until 1997) and then the whole Latin market. He said, “It probably didn’t reach the US, but there’s always a first time.” This one had the audience singing along. “Anime Imperfette” is another song that may not be on either of Bocelli’s albums, but it’s not really a cover. It is the Italian song that he sang for the Netflix series “From Scratch” that appears on the series soundtrack. This song was preceded by an epic synth solo by Fabio.
The Ed Sheeran cover of “Perfect Symphony” was definitely a highlight. Sheeran contacted Andrea Bocelli to do a duet of the song with him. Matteo recalled, “So one day Ed Sheeran called my father…I wish he had called me, but… (audience laughs)I had some good pasta with him still.” In the video, Sheeran sings the first half in English and Andrea belts out the response in Italian before they harmonize at the end. Matteo and his father have since sung the song together, but this time he was on his own and he brought the house down when he switched to Italian to sing his father’s part.
He performed “Fall On Me,” the duet he originally recorded with his father for Andrea’s 2018 album Si. Matteo shared the story of how this song was really how he got started. He had sung on the demo for this song and it was pitched to the team who was looking for original songs for Andrea’s upcoming album. “So I made the demo,” he said, “And the first two people to listen to it were the president of the label and the producer they were working with, Bob Ezrin. And he goes, ‘you know I love this song, I think it should be on the record, but I also love this guy, but it is not Andrea’ – it was me.” And it came to be their duet. This night it was his song and it brought a standing ovation.
The three-song encore consisted of two more songs from the new album: “Angel In Disguise” on which he played acoustic guitar, and “If I Can’t Have You,” that featured an astounding rock guitar solo by Andrea while Bocelli played piano.
Before the last song, Bocelli told the story of how David Foster discovered him and wanted to produce him, but his father wasn’t on board since he was too young and needed to stay in school. As time went by, Foster still found opportunities to put Bocelli on world stages such as his 75th birthday celebration at the Hollywood Bowl and the American ICON Awards where they chose to cover the Lucio Dalla song “Caruso.” It has become a personal favorite for Bocelli and he closes each show with this song. He finally recorded his own version of this song and it is appropriately the closing track on Falling In Love. As he held the last note of this passionate song the room erupted with applause that continued through the final bow. He left center stage with a huge smile on his face, giving a final wave and glance to everyone.
As much as it meant for this audience to receive the gift of his musical talents, it truly seemed that it meant even more to him to share them.
PHOENIX — Purity Ring’s fall 2025 “place of my own” tour came to The Van Buren, with yuniVERSE as the sole opener on her first tour. The beautifully historic, repurposed downtown venue set the stage for an evening the band had described in their July Substack tour announcement as “three-dimensional… expansive but intimate,” and the night delivered as promised.
yuniVERSE
The venue’s stage at first was strange to look at, one half covered in human-sized flowers and the other looking like metal stars or fans. I waited in the rapidly filling room with no idea of what to expect. When the lights faded, people abandoned the bars and the winding merch line spilling into the main room as the attention turned to a new performer on her first tour, yuniVERSE.
Even though she only used a portion of the stage, she invited us into the jewel-lit garden of her design, where she shared her intimate confessions through emotive electric pop. yuniVERSE weaves through each song like a layer within a dream, her hair gently blowing as she captivates the audience with her presence and movements. Her performance feels like a journey into her private world as she navigates through love and life. She continued to captivate the room completely, her sensual, charismatic movements paired with the softness of her vocals as she sang behind the mask she wore in unity with Purity Ring’s request for community care.
yuniVERSE said she wished this tour were longer because she wasn’t ready for it to end yet, and I can imagine I’m not the only one who felt the same. She playfully joked, “I know you’re here for Purity Ring, but together, we’ll keep it a secret that you’re actually here for me, okay?” giving a little laugh before closing out her set and leaving the stage for the headliner, Purity Ring.
Purity Ring
The room settled as the stage shifted from yuniVERSE’s dreamlike garden into the darker, more mysterious world crafted by Purity Ring. Corin Roddick stood alone at first, lighting up sections of the stage with his touch while the star-shaped fans began to spin, projecting red light that looked like sparks spraying across the dark.
During “Many Lives,” the lights flickered and danced like floating embers. “Obedear” pulled us into caverns and stars, with what looked like fireflies curling upward like smoke. “Soshy” arrived with bright, breathy vocals and pounding bass, blue lights sparkling before shifting into sharp red flashes deeper into the song.
James took a moment to thank the people in the crowd who wore the masks the band provided for everyone’s health. She appreciated the contribution to community care and valued taking care of each other. As she gushed while thanking yuniVERSE, she admitted she was rambling before continuing the set. It was clear the two acts genuinely appreciated their time together. This became even more apparent after noticing Roddick’s contributions to at least three of yuniVERSE’s tracks (“FALL 4 U,” “18 nite texts,” and “wasted”).
Our journey resumed as holographic leaves of blue, green, and red light appeared and danced around the stage, swirling toward the crowd as the room stayed completely locked in the performance.
The final song, “Begin Again,” brought everything together. Galaxy patterns pulsed behind the band, and the twinkling vocals reached out with swirls of light bursting like magic. The fans met the band’s energy as they sang along during the quiet pauses. As we traveled back to reality with this song, and as the band thanked Phoenix to end the night, cheers of fanfare erupted and filled the room with adoration as we exited the enchanted world of Purity Ring.
PHOENIX — The golden hour bathed Talking Stick Resort Amphitheatre as fans of all ages gathered for a triple bill of nostalgic icons: The Offspring and Jimmy Eat World co-headlining, supported by New Found Glory. The “SUPERCHARGED Worldwide in ‘25” tour follows The Offspring’s 2024 studio release, Supercharged, promising a night of their signature high-energy punk. Anticipation hummed through the amphitheatre, decades of beloved hits ready to be unleashed. Each band carried their own unique legacy of anthems and reputations to uphold.
New Found Glory
When the stage went dark for the first time, Phoenix was greeted by a “Y’all ready for this?” from vocalist Jordan Pundik of New Found Glory. Surrounded by the yellow and pink neon glow, the band tore across the stage faster than high school summers.
Pundik was an energetic force, one of the most physically demanding performances I’ve encountered, and his bandmates didn’t miss a step keeping up with him. Did they age? With moves like that, they seem to be just as on-point as they were in the early 2000s.
August 27, 2025
August 27, 2025
August 27, 2025
August 27, 2025
Jordan Pundik (vocals), Ian Grushka (bass), Dan O’Connor (guitar), & Cyrus Bolooki (drums) – New Found Glory
The crowd followed his every command, clapping and jumping to old favorites like “Dressed to Kill.” A new favorite, “100%,” was played as Pundik did a hurdle jump and encouraged the amped fans to open up the pit. The song was fresh but still the NFG we know and love, with a strong message about authenticity and perseverance: “My word is cement, I’m gonna give you one hundred percent.”
The band gave their shout-outs, with the most important being to missing guitarist Chad Gilbert, explaining that he couldn’t make it tonight because “cancer is kicking his ass.” Filling in for Gilbert was Dan O’Connor of Four Year Strong, with Dave Knox of Real Friends also joining on rhythm guitar.
They closed their set with “My Friends Over You,” where Pundik donned a large yellow finger, still never missing a beat despite what seemed to be a struggle with the soundboard. NFG gave Phoenix 100% until the very last moment on the stage.
The entirety of the amphitheatre went dark as hometown heavy hitters Jimmy Eat World took the stage in Phoenix for the first time since their 20th anniversary show for the album Futures. They began their set with a “What’s up y’all?!” from lead vocalist Jim Adkins, before leaping into “Pain,” the first single they dropped from Futures back in 2004. If anyone there was feeling any kind of pain that night, it would have been easy to let it wash away in Jimmy Eat World’s emotionally mesmerizing performance.
A brief storytime about mid-set with Adkins, complete with an important lesson:
“That’s my people right there,” he said, referring to the grassy GA section under the night sky. “I remember charging the barricade when Green Day was playing at Lollapalooza … They played, like, second that year, and I made it all the way down here, like from the GA down here.” He pointed toward the full pit. “And I was like, ‘Cool! There’s 10 more hours of this. I’m going back up there!’”
“Jim, that’s a great story. Your rock and roll talk is the best,” Adkins says to himself.
“If you think my rock and roll talk on stage is the bomb, everyone yell some shit!” The crowd was right along with him for the ride. “That’s right! I used the word ‘the bomb’… because I’m old!” he laughed, strumming his guitar.
“Anyway, aging is not a choice… Acting like a crotchety old bastard is, but aging isn’t. This song’s about everything that makes music special. It’s called “Something Loud.” Come on!”
And there you have it, folks—a truth for everyone as we grow older. Jimmy Eat World is still holding a mirror up, showing us who we choose to be.
The lighting team mirrored the emotion of each track, from the glow of mint green during “Lucky Denver Mint” to golden warmth and deep blues across their biggest anthems like “Sweetness” and “The Middle,” illuminating each musician with care. The air was thick with heat and the crowd’s passionate response, the songs pouring from the stage in the way so many once imagined while listening on the radio.
The Offspring
An abrupt countdown began when Jimmy Eat World left the stage, and the chaos of The Offspring began to be unleashed in waves, showing just how much they cherish their fans and a good time. A series of feature cams lit up the screens, including the “Kiss Cam,” “Fuck You Cam,” “Headbang Cam,” and “Booty Cam.”
During Offspring trivia, shirts were launched into the excited audience. A “GET LOUD” meter appeared on-screen as the band prepared to take the stage, and the fans were ready, wild, and dare I say, supercharged. A crew member ran around in an ape mask, upgrading fans to better seats.
Everything went dark, the final countdown began, and the fans chanted the numbers as they appeared. Blue electricity filled the screen, epic music swelled, and guitarist Kevin “Noodles” Wasserman stepped out, showering the crowd with love.
The band blasted into the first song, the anthem “Come Out and Play.” Vocalist Dexter Holland’s voice was better than the recording — with a little more grit and age, it was perfection.
Dripping with nostalgia and opening a bag of new tricks, the show’s props were next level: two gigantic blue-lit skeletons were moved on stage during one of the songs, confetti was blasted, and huge beach balls were tossed around the pavilion during “Pretty Fly For A White Guy.” The cams on fans kept rolling, making the audience a central part of the experience. The huge screens showcased the band members in different filters, changing with each song, adding an unexpected visual flair. The high-energy punk rock momentum continued all over the stage throughout the night, including the hilarious wacky waving inflatable tube “pretty fly” white guys.
In all of this rowdy fun, The Offspring did break for emotional segments like the beautiful performance of “Gone Away” and paying a touching tribute to the recently departed Ozzy Osbourne.
They told their electrified legion that Arizona always gives them the best shows, and they played like they believed that in their souls. The Offspring were playful and unexpected in the best ways. They pulled out all the stops for this tour, with the crew executing it exceptionally.
The triple bill delivered the type of concert people recall when asked what their favorite show was. The Offspring, Jimmy Eat World, and New Found Glory are a dream lineup, reminding us why this music is still embedded in our hearts decades later. The “SUPERCHARGED” tour is a timeless collision of past and present, still providing the soundtracks to our lives.
Setlists
See what each band played during the Phoenix stop on Setlist.fm:
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 albumfalling 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.
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
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.
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.
“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.
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.
“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.
Then came the cover that sealed it: Icona Popfeat.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”.
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 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.
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.
Tempe, Ariz. — With triple-digit temps blazing outside, the best way to beat the Arizona heat is inside a venue blasting air conditioning and even louder music. The “Idobi Radio Summer School Tour,” proudly sponsored by Hot Topic, brought the heat in a different way on Sunday, July 27, at the Marquee Theatre. Doors opened early at 6 p.m. to make room for a stacked lineup featuring Rain City Drive, Charlotte Sands, Taylor Acorn, Beauty School Dropout , Arrows in Action, If Not For Me, and Huddy. As the tour continues its westbound run through mid-August, this Tempe stop felt like the perfect send-off to summer—one last electrifying night before the school year kicks in.
Huddy started the night with a burst of energy that set the tone for the rest of the show. Best known for his viral fame on TikTok and his role in co-founding the Hype House, Huddy (formerly LilHuddy) has steadily transitioned from influencer to full-fledged pop-punk performer. Far from just a social media personality, his set proved he’s serious about music.
Backed by a tight band and moody visuals, he ripped through a six-song set that included fan favorites like “Vendetta,” “All the Things I Hate About You,” and “The Eulogy of You and Me.” Tracks like “Partycrasher” and “Cyanide” kept the crowd moving, while “Fragile” offered a more emotional moment. Whether you knew him from the For You Page feed or not, by the end of his set, Huddy had everyone ready for more.
If Not For Me took the stage next and wasted no time unleashing their signature brand of high-intensity metalcore. Hailing from Harrisburg, Pennsylvania, the four-piece—Patrick Glover (vocalist), Hayden Calhoun (guitarist), Zac Allen (bassist), and Cody Frain (drummer)—brought raw power, tight musicianship, and undeniable stage presence.
Known for blending punishing breakdowns with catchy, anthemic choruses, they delivered an explosive set that turned casual listeners into instant fans. The band tore through six crushing tracks: “Demons,” “No Thanks to You,” “Alone,” “Say It to My Face,” “Blameless,” and “Feel Me Now.” Each song hit harder than the last, and by the end of their set, the crowd was alive and fully locked in.
Arrows in Action brought a vibrant shift in tone, blending feel-good alt-pop with emotional punch. Since forming at the University of Florida in 2017, the trio—Victor Viramontes-Pattison (vocalist/guitarist), Matthew Fowler (guitarist), and Jesse Frimmel (drummer)—has built a loyal following thanks to their infectious melodies and heart-on-sleeve lyricism. Though guitarist Fowler was absent in Tempe due to illness, frontman Viramontes-Pattison reassured the crowd with a smirk, “He’s sick in the hotel, not dead,” earning laughs and cheers.
Despite the lineup change, the band didn’t miss a beat. A beach ball bounced across the crowd as they played through a sunny yet emotionally rich set featuring “Feel It Again,” “Light Like You,” “Cheekbones,” and “Wide Eyes.” Tracks like “Empty Canvas” and “All The Ways I Could Die” showcased the band’s deeper side, while “Uncomfortably Numb” closed the set on a high. With or without a full lineup, Arrows in Action proved they know how to connect and keep the good vibes going.
The band will end their jam-packed year at the 2025 Vans Warped Tour in Orlando, Florida on November 15th. For more information on upcoming tour dates and to purchase tickets, visit the band’s website HERE.
Beauty School Dropout hit the stage with a kind of swagger. Formed in 2020 in Los Angeles, the trio—Cole “Colie” Hutzler (vocalist), Brent “Beepus” Burdett (bassist), and Bardo Novotny (guitarist/producer)—has been making waves ever since their early days. Backed by a heavy-hitting sound and an unfiltered attitude, their live set was a chaotic good time. “If you like mosh pits. If you like crowd surfing…” Hutzler teased the crowd with a grin, before laughing, “I see some scared faces.”
It was one of the most family-friendly pits of the night in the best way. Kids on their parents’ shoulders, outfitted in headphones, rocked out right alongside the longtime fans. The band’s setlist included high-energy bangers like “Fever,” “SEX APPEAL,” “FIGHT MODE,” and “A$$A$$IN,” with crowd favorites like “On Your Lips” and “WE MADE PLANS & GOD LAUGHED” keeping the energy alive. As the band exited the stage, the speakers cheekily played “Beauty School Dropout” from the film Grease, bringing their performance full circle.
Taylor Acorn lit up the stage with a firecracker set that had the crowd—especially the girls up front—jumping, screaming, and singing along to every word. The Nashville-based singer-songwriter has quickly become a standout in the pop-punk revival scene, thanks to her powerhouse vocals, emotionally raw lyrics, and a sound that hits somewhere between nostalgic and freshly fierce.
Known for viral hits like her 2022 breakout single “Psycho” (which has racked up over 11 million Spotify streams), Acorn brought a personal, heartfelt energy to the stage that clearly resonated with fans. The stage visuals added an extra layer of charm, two large video boards flashed her name with butterflies fluttering around, and skeleton hands throwing peace signs, hearts, and “I love you” signs punctuated her set with punk-rock flair. She shared that while she’s played in Arizona before, this was her first time performing in Tempe, and she “loved the city.” The love was mutual.
One of the night’s most anticipated moments came when Charlotte Sands joined her onstage for their collaborative track “Final Nail,” which the two originally recorded together—bringing their studio chemistry to life in a striking live duet.
Her set included fan favorites like “Hell of a Show,” “I Think I’m in Love,” and “Goodbye, Good Riddance,” along with deeper emotional cuts like “Burning House” and “Shapeshifting.” Acorn closed with “Psycho,” sending the crowd into one final singalong frenzy.
Charlotte Sands took the stage with a burst of bold energy—and her signature electric blue hair—to deliver one of the most emotionally charged sets of the night. Best known for her breakout 2020 single “Dress,” which went viral on TikTok, Sands has quickly carved out a space in the alt-pop/rock scene with her powerhouse vocals and deeply personal songwriting.
Her setlist hit hard from the start with “Tantrum” and “Bad Day,” and the energy never dipped. Songs like “pity,” “use me,” and “spite” showcased her ability to shift from vulnerable to defiant in a single breath.
Before performing “Alright,” Sands shared that she wrote the track during the COVID lockdown, when the world felt isolated and live music felt impossibly far away. She paused to reflect on how good it felt to be back in a room together again, then asked the crowd to light up the venue with their phone flashlights—a moment that turned intimate and unforgettable.
Rain City Drive closed out the night with a high-octane set that blended post-hardcore grit with anthemic rock melodies. Originally known as Slaves, the band has reinvented itself under a new name—inspired by Manchester, England, the “rainy city” where the five members first connected. Now fronted by The Voice runner-up Matt McAndrew, Rain City Drive has found a powerful new identity, releasing their self-titled album in 2022 on Thriller Records.
From the jump, the band commanded the room with “Lose My Composure” and “Over Me,” driving home why they’ve become a standout in the modern alt-rock scene. McAndrew’s vocals soared, and his playful banter kept the vibe loose: “If the crowd gets quiet,” he teased, “we’ll leave the stage.” No chance of that happening. The audience stayed loud through punchy performances of “Concrete Closure,” “Frozen,” and fan-favorite “Ride or Die,” which McAndrew shouted out as the band’s personal favorite.
Before launching into “Blood Runs Cold,” he rallied the room: “Let me hear you, Tempe. Make some noise, let’s pick it up!” They wrapped the night with the emotional “Talk to a Friend” and the hard-hitting “Medicate Me,” sending fans home sweaty, smiling, and fully satisfied.
Summer School Tour Leaves Tempe Fans Wanting More
As the final notes rang out and the house lights came up, one thing was clear; the “Idobi Radio Summer School Tour” delivered exactly what fans came for—high-energy sets, genre-spanning sounds, and a sense of connection that live music does best. From Huddy’s pop-punk punch to Rain City Drive’s emotionally charged closer, each artist brought something unique to the stage, creating a night that felt like both a celebration and a farewell to summer. This tour reminded everyone why we show up early, stay late, and scream every word. If the rest of the tour is anything like Tempe, then “Summer School” is a night that deserves a full house.
Photo Galleries
Photographer: Mark Greenawalt
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