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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!
My Chemical Romance lead vocalist Gerard Way performs alongside Head Nurse Sylvia, portrayed by Charlotte Kelso and part of the tour’s dystopian MOAT storyline in which The Black Parade are held captive and reconditioned, as flames erupt across the stage. Photo Credit: Bryce Hall
PHOENIX — Let’s talk about anniversaries. We recognize and celebrate anniversaries to varying degrees as a means of looking objectively at the event and what it meant. We also consider the context in which it exists now and what it means in this new context. My Chemical Romance’s “The Black Parade” tour stop at Chase Field with support from Jimmy Eat World brought with it several anniversaries.
Album artwork – Jimmy Eat World ‘Bleed American’
Let’s start with a good one: Jimmy Eat World’s breakthrough fourth album Bleed American is 25 years old this year. Then there’s September 11th, a day of unspeakable tragedy that was also 25 years ago. It was an event witnessed by a 24-year-old Gerard Way, who saw it not just as the tragedy it was, but as something apocalyptic. He decided to live his life like the world could end and formed My Chemical Romance to make a positive difference, which is a beautiful thing to have come from something so terribly horrible. It should also be noted that September 11th also led Jimmy Eat World’s Bleed American to be briefly renamed simply Jimmy Eat World, as their label felt that maybe an album including the words “Bleed” and “American” may not be the best choice, given what the country was experiencing.
Album artwork: My Chemical Romance ‘The Black Parade’
Also of note, given the setting, is that the Arizona Diamondbacks won their only World Series championship on the very field that hosted Sunday night’s show. Maybe important, but definitely not as important as My Chemical Romance’s third album, the operatic The Black Parade, which is turning 20 this year. It was performed in its entirety in the properly rock-operatic way with one of the most-impressive stage shows any band has put on, arguably placing it alongside Pink Floyd’s original “The Wall Tour” in its scope and grandeur.
Jimmy Eat World: A Home-state Victory 25 Years in the Making
Jimmy Eat World hail from Mesa, AZ, so their opening performance playing their 2001 masterpiece Bleed American in full was a well-deserved victory lap for these hometown heroes to play to a sold out Chase Field, just 18 miles from where their career started. You could tell from the images of the band cast bigger than life on the giant screens to the left and right of the stage throughout their set that the moment meant a lot to them — something lead singer and chief songwriter Jim Adkins noted during their performance.
Despite being an Arizona transplant, I too felt a pride in watching them perform their most-celebrated album from start to finish within distance of the tiny venues and bars where they started. They deserved a celebratory moment like this and made the most of it during their hour-long set. Hits like “A Praise Chorus,” “The Middle,” and “Sweetness” had people out of their seats, singing and dancing, feeling the moment with the band. Though not a single, “Hear You Me,” the band’s ballad about fans Mykel and Carli Allan, whose tragic deaths inspired the lyrics, had the ballpark lit up with cell phone lights for the first time in the evening. (The sisters also inspired Weezer’s “Mykel and Carli.”) People had tears in their eyes as they sang along. It was special. There’s no other way to put it.
Zach Lind, drummer of Jimmy Eat World, wearing a “Jimmy” jersey while projected larger than life on a video screen during the band’s home-state performance at Chase Field. Audience photo by: Katherine Amy Vega
Upon completing the album play, Adkins noted that they still had a few more minutes left in their set and proceeded to run through “Big Casino” (from 2007’s Chase This Light), “Work,” and “Pain” (both from 2004’s Futures). They group took a collective arm-in-arm bow to rapturous applause before departing the stage. For Jimmy Eat World’s core four of Adkins, rhythm guitar player Tom Linton, bassist Rich Burch, and drummer Zach Lind, I hope this moment felt as triumphant to them on the stage as it did to those of us in the audience.
My Chemical Romance: Death, Fire, and The Black Parade Reborn
My Chemical Romance frontman Gerard Way raises a gloved fist from behind a stark podium during The Black Parade 2026 in Phoenix. Photo Credit: Bryce Hall
We are a month and a half shy of that aforementioned 20th anniversary of My Chemical Romance’s undeniable masterpiece The Black Parade (released on October 20, 2006), and the band performed the album from start to finish. This was, of course, not just an album playthrough, but a full-fledged theatrical performance as well, and so it is difficult to properly sum up what this experience was like without giving a beat-for-beat textual reenactment of it.
My Chemical Romance lead guitarist Ray Toro performs at Chase Field. Photo Credit: Bryce Hall
Instead, here are the highlights without any unnecessary commentary on what the visuals of the performance meant:
The band members lining up to each receive medication from a nurse prior to the first song
Large, Big Brother-esque video screens broadcasting appropriately Orwellian images and videos
A man on fire running across the stage
Gerard Way singing to a severed head in an operatic emo reimagining of Hamlet’s churchyard soliloquy (you know, “Alas, poor Yorick, I knew him Horatio”)
Huge bursts of fire rising into the sky and practically nipping at the park’s roof
My Chemical Romance lead vocalist Gerard Way and bassist Mikey Way perform amid towering pyrotechnics. Photo Credit: Bryce Hall
Then came the closing moments of their set’s first act, as the whole stage was slowly engulfed in flames as Way passionately sang, “I am not afraid to keep on living/I am not afraid to walk this world alone,” with the heat turned up, literally and figuratively, around them.
My Chemical Romance rhythm guitarist Frank Iero performs surrounded by flames. Photo Credit: Bryce Hall
What was also on display but not a part of the show per se was how hard the band was working to make it all look and feel as incredible as it was. One could see from any vantage point how much they were all giving the audience: fake blood, but real sweat and tears.
My Chemical Romance bassist Mikey Way performs in silhouette during their Phoenix concert. Photo Credit: Bryce Hall
The second act featured the band out of costume, performing a run of songs from throughout the rest of their catalog on a smaller stage in the middle of the crowd. Despite there being thousands in attendance to witness it, this second half felt smaller, more intimate.
My Chemical Romance performs before a packed Chase Field crowd during their second set of The Black Parade 2026 tour stop in Phoenix. Photo Credit: Bryce Hall
Dressed much more casually, this felt like we were all spying on a club gig by the band. They dedicated their third song of the encore “Boy Division” to “The Butcher,” referencing former tourmates Every Time I Die’s guitar player Andy Williams. He was also a professional wrestler under the name “The Butcher,” who tragically died the night before after collapsing at a wrestling event. Other closing highlights included the tour debut of “The Only Hope for Me Is You” and the band’s first-ever performance of “The Light Behind Your Eyes,” from Number Three of the Conventional Weapons series of previously unreleased material, to close out the show.
Anniversaries are moments to reflect on what it all meant, and why it still matters now. Jimmy Eat World and My Chemical Romance both reminded us that it matters because the music connected with our hearts and our souls and continues to resonate. It touched something inside all of us and stayed there, like a protection from the pain the world can give us, whether it be the untimely deaths of friends or one of the most horrific and tragic events in our nation’s history. It reminds us that even when it feels like everything is descending into chaos, we should sing loudly as a rebuke of the worst of our world: “I am not afraid to keep on living!” That is a gift we should all hold dear, even when we have to sometimes walk this world alone.
My Chemical Romance performs beneath dramatic stage lighting during The Black Parade 2026 at Chase Field.
Photo Credit: Bryce HallGerard Way of My Chemical Romance performs against the imposing video-wall backdrop of The Black Parade 2026.
Photo Credit: Bryce HallMy Chemical Romance lead vocalist Gerard Way confronts a masked figure on a hospital bed during the closing theatrical sequence of The Black Parade portion of the show.
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.
Tempe, Ariz. — Marquee Theatre buzzed with eager fans of all ages as BOYS LIKE GIRLS brought “The Soundtrack of Your Life Tour” to Tempe with I DONT KNOW HOW BUT THEY FOUND ME and Arrows in Action. Celebrating 20 years of their self-titled debut album and 17 years of Love Drunk, the night leaned into pop-rock nostalgia, full-room singalongs, and the kind of fan devotion that has followed the band across decades.
Arrows in Action frontman Victor Viramontes-Pattison skipped onto the stage to start the night with “Light Like You,” off their only-days-old release I Think I’ve Heard This Before. Royal purple light flooded the stage for their second song, “Over It,” to cheers and a visibly grooving crowd.
Viramontes-Pattison’s presence on stage mixed romance cover looks with a golden retriever energy. His hair fluttered, his hands animated while he maintained perfect vocal precision, matching their recorded tracks.
“Cheekbones” took us to places only we know, with drummer Jesse Frimmel shining a smile so pure it was clear from the dark, packed crowd as he hit the final beat.
The entire band was magnetic, engaging their fans at every moment of their performance. At the end, they held true to their Spotify bio; the members of Arrows in Action were “just happy to be here,” and their joy was palpable.
iDKHOW Bring Playful Theatrics and Retro Swagger to Tempe
The vibe shifted with the moody grooves of I DONT KNOW HOW BUT THEY FOUND ME, leading us into a jewel-lit sea of purples, teal, and gold. We swam through the eclectic discography of Dallon Weekes’ previously hidden act, which he began before he left Panic! at the Disco in 2017.
Weekes’ voice smoothly moves between soaring clean highs and sultry saunters, accompanying retro synth-laden jams with swooning guitars. The popular hit “Choke” was met with cheers and screams from the audience, and Weekes invited, “Oh, Arizona, won’t you please come and sit with me?”
During one song, Weekes draped the microphone cord casually above him, one arm behind his head, posing as the audience cheered in approval. “Leave Me Alone” had many playful moments. One member held his guitar low, mimicking a gun, and pretended to fire at the drummer, afterward tossing a pick at him. Another time, the guitarist attempted to balance his guitar on his head, but it eventually fell into his hands. While singing the lyric “A Brand New God,” the white spotlight rose and fell as purple pulsed.
In the final moments on stage, Weekes exclaimed, “Holy shit! It’s a real-life saxophone,” which cued a saxophonist to the front of the stage for a solo, the guitarist and bassist greeting him with face-offs. The music faded, and Weekes exited the stage, exaggeratedly swinging his arms.
Often a time for bathrooms or boredom, the wait between I DONT KNOW HOW BUT THEY FOUND ME and BOYS LIKE GIRLS was instead filled with fans singing along to a playlist centered on millennial nostalgia. The lyrics of “Everytime We Touch” by Cascada were sung by almost everyone in the venue. As gear moved and the stage was set, the crowd was bubbly, chatting, and friendly. The room carried some of the best energy I’ve experienced at a show.
BOYS LIKE GIRLS Prove They Are Still the Soundtrack of Fans’ Lives
Vintage CRT televisions lit up and rapidly flashed scenes of recognizable moments from the 2000s, and while there was audio, the words were lost in the roars of adoring fans greeting the members of BOYS LIKE GIRLS as they took their places on stage. A tambourine hung from frontman Martin Johnson’s neck like jewelry before he removed it to rhythmically bang against his hip, later he moved to maracas. On the third song, “She’s Got A Boyfriend Now” I noticed Jamel Hawke’s guitar and Gregory James’ bass and shoes were all matching in silver glitter.
Directly afterward, the mood calmed as Johnson played an acoustic guitar for “Two Is Better Than One,” a track off their 2009 release Love Drunk featuring Taylor Swift. “Someone Like You” off the same album, began with the television’s screen filled with static, Johnson pointing into the golden spotlight while speaking the lyric “Talking to someone up there.”
Johnson and James faced each other as they sang “Chemicals Collide”, the room full of energy, pumping arms and crowd surfing to the help drown from the Marquee’s security team. “Go” ended the set with soft, soulful vocals and fans emotionally swaying ’til the pick up. Hawke and James soloed together on one small platform. The song finished, they left the stage with the bright lights on like it was the end.
A countdown began on the TVs. I noticed when it was at 9:30, stagehands balled up and tossed the setlists off the stage, returning later with fresh ones. Calm and twinkling music played as the final adjustments to the stage were made. BOYS LIKE GIRLS returned for an epic encore of their 2006 debut release Boys Like Girls.
They played in album order, beginning with “The Great Escape,” their biggest hit, with the crowd louder than the band. “Five Minutes To Midnight” and “Hero/Heroine” continued the streak of the audience singing every word with their whole hearts, showing how accurate the tour name truly is.
Throughout the night, the side stage gradually filled with handpicked fans. During “Heels Over Head” Johnson’s team replaced his pick holder, only for him to find they were James’s bass guitar picks which lead to him saying something like “Fuck, these are Greg’s!” Throughout the rest of the night there were multiple moments of him forgetting, grabbing one, and throwing it to the floor.
During “Broken Man”, Johnson expressed his appreciation of years of support, stating, “Your voices have been the soundtrack of our lives for the last twenty-five years.”
The depth of the connection between BOYS LIKE GIRLS and their fans filled the room with genuine joy, deep love, and gratitude. The final goodbye of the night was the band giving their all in one more way. They tossed memory-soaked items from the stage, small tokens to be treasured from such an epic celebration. Boys may like girls, but we definitely love BOYS LIKE GIRLS.
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
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.
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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:
