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PHOENIX – Canadian pop-rock singer-songwriter LØLØ is bringing her god forbid a girl goes on tour headline run to The Rebel Lounge on Monday, Oct. 12, supporting her sophomore album, god forbid a girl spits out her feelings! and tickets are running low!
LØLØ’s ‘god forbid a girl spits out her feelings!’ album artwork
Released this year via Fearless Records, the 13-track album finds LØLØ leaning further into the diaristic songwriting, biting humor and emotional candor that have become central to her music. Fearless describes the record as chronicling the messiness of learning, losing, falling in love and falling apart, transforming intrusive thoughts and moments of self-doubt into cathartic songs.
Among the songs likely to make their way into the Phoenix set are album standouts “me with no shirt on,” “the punisher,” “007,” “the devil wears converse” and “american zombie.” The album also includes “delusional darling,” which has since received a collaboration with Ella Red.
The Toronto native has built a rapidly expanding presence in modern pop-rock, amassing more than 200 million global streams while pairing confessional songwriting with melodies rooted in pop-punk and alternative rock. Her résumé includes collaborations with Simple Plan, Maggie Lindemann and Plain White T’s, along with tours and performances alongside acts including New Found Glory, State Champs and Boys Like Girls.
Her latest headline run follows a busy year of live appearances, including multiple Vans Warped Tour dates and festival performances throughout Canada. LØLØ has also appeared on stages at festivals including Lollapalooza, Sad Summer and Slam Dunk, while earning recognition as one of Rock Sound’s “2025 Icons.”
LØLØ’s “god forbid a girl goes on tour!” stops at The Rebel Lounge in Phoenix on Oct. 12.
For an artist whose songs regularly turn oversharing, romantic disasters and spiraling thoughts into singalong material, god forbid a girl goes on tour offers a fitting live extension of the new record. The songs are intensely personal, and LØLØ has increasingly built a community around making those feelings something listeners can shout back together.
Mylie Taylor and Sydney Sherrill will support LØLØ at The Rebel Lounge. Doors open at 7 p.m., with the show beginning at 8 p.m. The concert is all ages, with tickets currently listed from $22 to $107.
With god forbid a girl spits out her feelings! now out and a new era of LØLØ fully underway, Phoenix fans will have the chance to catch one of pop-rock’s rising voices in the close quarters of The Rebel Lounge on Oct. 12.
Get your tickets for the Phoenix show or any other tour date here!
MESA, Ariz. – Bailey Spinn is hitting harder than ever, and Arizona fans will get a chance to hear that evolution live when she comes to The Nile Theater in Mesa on Tuesday, Sept. 29.
Spinn is currently on the road with Scene Queen and WARGASM as part of Scene Queen’s METALICIOUS Tour, which kicked off Sept. 15 and continues through late October. The Mesa stop lands roughly halfway through the run, with Spinn opening the all-ages show at the historic downtown venue.
Event Details
Scene Queen: METALICIOUS Tour with WARGASM and Bailey Spinn
Tuesday, Sept. 29, 2026 The Nile Theater 105 W. Main St., Mesa, AZ
Doors: 7 p.m. | Show: 8 p.m. All ages
Advance tickets: $28 plus fees Day-of-show tickets: $33 plus fees Eventim
The Sept. 29 Mesa appearance is one of several Southwest and West Coast dates on the tour before Bailey Spinn, Scene Queen and WARGASM continue through San Diego, Los Angeles, Las Vegas and beyond.
The tour comes as Spinn pushes beyond the pop-punk and alternative rock foundation of her earlier material and further into hard rock and metal. Her latest single, “start again,” released Aug. 28, was produced by Scott Stevens, whose credits include Shinedown, Halestorm and Daughtry. Built around muscular guitar riffs and a darker, heavier atmosphere, the song explores the desire to reset a relationship even after betrayal, loneliness and the realization that it may no longer be healthy to hold on.
Spinn describes “start again” as a “melodic metal anthem” and says the track introduces new vocal techniques alongside a haunting energy. It follows “voodoo,” another step into heavier territory, as well as “homicide,” “critical” and “fear of going out”.
That progression marks a notable expansion from the Y2K-inspired pop-rock and pop-punk sound that initially established Spinn as a recording artist. After building an enormous online following through short-form content, covers and original music, she released her debut EP, My Worst Enemy, before signing with AWAL and releasing her debut full-length album, loser, in March 2025. Her catalog has since generated more than 25 million Spotify streams.
The heavier turn also makes Spinn a natural fit alongside the METALICIOUS Tour’s other two acts. Headliner Scene Queen has built her identity around her self-coined “bimbocore” collision of metalcore, pop culture and hyperfeminine aesthetics, while British duo WARGASM brings an abrasive fusion of electronic music, punk and metal.
For Spinn, however, this tour arrives at an especially interesting point in her development. Rather than simply revisiting the pop-punk revivalism that helped introduce her music, songs such as “voodoo” and “start again” suggest an artist increasingly willing to test how far she can push the weight, darkness and intensity of her sound. And Mesa audiences will be hearing that evolution while it is still happening.
Beyond touring and recording, Spinn recently expanded into radio with the launch of Spinnin Out, her weekly idobi Radio podcast. Early guests have included Sophie Powers and fellow METALICIOUS tourmate Scene Queen, with additional alternative, rock and pop artists slated for the show’s first season.
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.
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.
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.
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 — 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
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 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.
