Tag Archives: Phoenix concerts

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

April 6, 2026 Jasmyne Haskie Leave a comment

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

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

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Akia and 4Batz Set the Tone

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

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

An April Fools’ Moment Kicks Off Mariah’s Set

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

Hearts Sold Separately Themes Come to Life on Stage

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

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

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

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

Crowd Participation Becomes the Show

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

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

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

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

Concerts, Reviews

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

March 12, 2026 Ali Crimson Leave a comment

PHOENIX — An impressive crowd gathered at the Desert Diamond Arena for opener Boyz Noize and the legendary Nine Inch Nails. Bass pounded through the speakers as the opening set welcomed attendees to a darkened room, with occasional red lighting shifting between the center of the room, a shrouded, large box-shaped object sitting in the growing sea of fans.

The room transformed as the walls were shed to reveal Trent Reznor playing the gentle notes to “(You Made It Feel Like) Home” (2022). His warm voice invites us into a feeling of intimacy while being surrounded by other fans in the shadows, gazing into the gold light holding him. The experience felt like I was the only one in the room, though when I looked, the arena had little room to spare.

The band assembles and Josh Freese returns

The warm light became cold, brighter, and sterile as the music transitioned to “Non-Entity” (2007). Guitarist/keyboardist Robin Finck and bassist Stu Brooks appeared, coordinated in all black with Reznor, to loud cheers.

“Piggy” from the 1994 The Downward Spiral album followed, the lights shift back to gold, now a low glow this time with Reznor on his feet, bouncing with his finger to the ceiling signaling the room to bounce with him to the beat.

The glow allowed the room to slip into darkness, leaving only a screen at the front of the room showing a drum solo that marked the entrance of newly returned drummer Josh Freese, starting only on the North American leg of the tour. The curtain that once showed Freese lifts, showing the entire band surrounded by sheer veils.

Visuals as an instrument

Live projections of each band member are shown on the sheer curtains as the band blasts into “Wish” (1992). New visuals come with each song; “March of Pigs” (1994) is the first time soundwaves are projected. A dramatic piano piece guides the performance into “Reptile” (1994) a standout at the sixth song in their set, the introduction contrasting heavily, grinding with aggressively flashing green lights as white whips across the screens with the rise and falls of the music.

Peak intensity and set highlights

“If there is a hell, I’ll see you there,” Reznor sings to us in the foggy, red-lit arena, as the audience claps along with “Heresy” (1994). Lights flash chaotically as the lyrics “God is dead, and no one cares” echo into every inch of the space. Shifting away from the earlier chaotic lights, the room darkens to a single spotlight on Reznor, with smaller projections on the walls between the band members that look like a house of mirrors showcasing dancing white silhouettes of him performing “Copy of A” (2013) from Hesitation Marks.

The energy high, beneath the red and blue flashing lights during “Gave Up” (1992), a small, seemingly friendly mosh pit begins on the floor level. The room is one with Nine Inch Nails, every moment seeming perfectly executed to the plan of long-time industry professionals.

Drowned in red and fog, almost by magic, Reznor has returned to the smaller center platform. Electric fuchsia zaps and flashes in the foggy clouds surrounding the stage as “Vessel” (2007), from Year Zero, pumps through the veins of every listener. The music surges beneath the skin.

The final stretch: “Closer” to the closing moments

Entering the final songs of the set list, the most popular song of Nine Inch Nails’ nearly 40-year career, “Closer” (1994) starts and engulfs the room in purple, fuchsia, and white, flickering to the heat of the music. The feeling this song gives is undeniable; the words are on the lips of everyone there.

“Parasite” (2010), originally by How To Destroy Angels (a band featuring Reznor and his wife Mariqueen Maandig Reznor) poured fresh green lights and fog down the room. The projections return with close-ups of Reznor, where I note a link chain around his neck I hadn’t noticed before. In this song, Trent Reznor’s vocals have a more digitized effect than in previous songs in the set.

“As Alive As You Need Me To Be” (2025), off the newest album TRON Ares: Divergence (a 24-track soundtrack for a movie of the same name) plays with coordinating white and red flashing lighting. The full band returns to play “Mr. Self Destruct” (1994) with the entire stage flashing, energy peaking — a song they had played so many times before, and it shows only with the smoothness of their performance. It is practiced to perfection.

“Less Than” (2017) raises the sheer curtains that provided the veiled cover for the entire show, signaling that it is one of the final three songs of the evening. This is the one and only time I believe Reznor plays a tambourine the entire show, which I did not expect.

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

The closing songs for the evening are fan favorites “Head Like A Hole” (1989), off Pretty Hate Machine, and “Hurt” (1994) from The Downward Spiral. “Head Like A Hole” is one of the most recognizable songs of the band’s extensive catalog, inspiring dozens of covers over the decades.

At the beginning of “Hurt”, a fight broke out in front of the stage. As it was yet to be broken up, Reznor stopped the song and spoke directly to the people saying, “Hey we’re not here for this shit man, hey HEY!! There’s enough bullshit happening out there, we don’t need it happening in the fuck here.” He turned, awaiting the resolution of the problem before continuing the performance after his very Dad-like scolding.

“Hurt” closed the show, giving us a finale of Reznor’s emotive lyrics and vocals to send us off into the night. There was no encore, and one wasn’t needed.

Peeling back the decades

You would think this performance would be one of simple nostalgia, but the music felt as fresh as when I listened to each release by NIN throughout the decades. The professionalism of this show was unmatched, smoothly transitioning between stages like the members had teleportation powers. The industrial music coursed through my veins with a unique awakening, the memorized words flowing from my tongue. The Peel It Back tour is an apt title, as this set list peels back the layers of years, and it is new again.

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Concerts, Reviews

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

January 30, 2026 Jasmyne Haskie Leave a comment

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

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

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

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

Community Before the Lights Went Down

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

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

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

Act 1: A Confident Opening Statement

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

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

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

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

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

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

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

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

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

Act 2: From Cosmic Reset to Commanding Power

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

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

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

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

Act 3: Individuality at the Core

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

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

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

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

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

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

Act 4 and Encore: Where TWICE and ONCE Became One

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

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

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

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

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

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

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

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

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

They became one.

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

Concerts, Media, Reviews

REVIEW: Purity Ring & yuniVERSE Lead Phoenix Into a Night Suspended Between Worlds (11-10-25)

November 18, 2025 Ali Crimson Leave a comment

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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.

Megan James appeared a moment later, illuminated by a soft golden glow on her face in the sea of black around her.

With each song, the room shifted through new worlds and galaxies.

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.

As the surreal landscape of each song immersed everyone further into the themes, the night kept expanding into something otherworldly.

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.

Photo Galleries

Photographer: Katherine Amy Vega

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Purity Ring

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Purity Ring & yuniVERSE – The Van Buren 11-10-25

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Concerts, Media, Photo Galleries, Reviews

REVIEW: SUPERCHARGED Tour Surges in Phoenix with The Offspring, Jimmy Eat World, & New Found Glory (8-27-25)

September 2, 2025 Ali Crimson Leave a comment

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The Offspring "Supercharged" album artwork — **The Offspring “Supercharged”** album artwork

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.

Jordan Pundik (vocals), Ian Grushka (bass), Dan O’Connor (guitar), Cyrus Bolooki (drums), New Found Glory
Photography: Katherine Amy Vega © All Rights Reserved

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.

Jimmy Eat World

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:

The Offspring

Jimmy Eat World

New Found Glory

Photo Galleries

Photographer: Katherine Amy Vega

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The Offspring

New Found Glory

The Offspring & New Found Glory – Talking Stick Resort Amphitheatre 8-27-25

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REVIEW: Hot Girl in Hell LØLØ Ignites as Simple Plan Tour Opener in Phoenix (8-14-25)

August 18, 2025 Ali Crimson Leave a comment

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PHOENIX — The night kicked off with a light, Disney-esque melody, possibly a nod to her “Let It Go” cover from Disney’s pop-punk covers album A Whole New Sound. Behind the stage, a whimsical backdrop mirrored her album falling for robots and wishing i was one: a yellow brick road leading to the Emerald City, her name in bold red with yellow trim. A drum crash cut the melody short, and LØLØ bounded onto the stage in a very cute, circa-early-2000s pop-punk-princess look: a cropped argyle spaghetti-strap top, tight black miniskirt, fishnets, and her signature knee-high boots. “Ready to make some noise?!” she shouted, busting into her first song.

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.

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 Pop feat. Charli XCX’s “I Love It”, reimagined in her pop-punk style. Jumping, headbanging, leading the sing-along — she lit the room on fire, earning the biggest applause of her set.

Between songs, her banter made her even more likable. With a black guitar slung across her, she talked about her dog Slim (named after Eminem). A particularly fun audience engagement exchange was when she asked if we had exes. “Yes!” shouted the crowd. Then she asked if we had exes we hated. A louder “yes” from the crowd. She responded with a playful, “We all clearly need therapy.” She laughed before joking that it is perfectly healthy to imagine them burning in hell, then launched into the song “hot girls in hell”.

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.

LØLØ’s USA Headline Tour Dates

Buy tickets at itslolomusic.com

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Photographer: Katherine Amy Vega

LØLØ – Arizona Financial Theatre 8-14-25

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Concerts, Photo Galleries, Reviews

REVIEW: Fitz and The Tantrums Delivers Essential Energy at Arizona Financial Theatre (8-7-24)

August 9, 2024 Ryan Novak 1 Comment

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PHOENIX — Arizona weather has been chaotic recently. We’ve had our sweltering days, relentless in the waves of heat emanating from every direction, making residents want to stay inside and bask in the glory of central air. Recently, with the monsoons, we’ve even been granted some of that humidity we’ve all heard so much about but rarely experience. We needed a reprieve from this heat and occasionally muggy air. Seeing Fitz and The Tantrums’ recent performance at the Arizona Financial Theatre was a spiritual amnesty — a stay of execution from excessive heat, if you will.

Fitz and The Tantrums

“We’re Fitz and The Tantrums!
Now, get your hands in the air!”

Fitz and The Tantrums’ arrival on stage seemed perfectly timed, as the seats had just completely filled, and the general admission around the stage had swelled to occupy every inch of space. The band’s dynamic hybrid of neo-soul and indie pop was the ideal remedy to combat the steamy temps and stifling air, a refreshing breeze that cools the body and revitalizes the soul.

The band opened with “Sway” and “Heaven,” letting the audience fully feel the moment, come alive, and cosmically link with the music. The energy was immediate, like an electric current surging through the crowd, passing from one person to the next. In those two songs, there was a moment of magic as the crowd began to dance. In the pit, they moved in unison, and it continued, like the wave at a sporting event, rising through the crowd and bringing those in the seats to their feet as they began to move.

What makes Fitz and The Tantrums so appealing and beloved by their audience — which ranged from young children to adults who have followed them for the entirety of their 17 years of existence — is their ability to blend old and new sounds into something wholly unique. For example, I noticed a family in front of me with three kids, approximately five to early teens, all of them overjoyed and grooving to every song, never once sitting down during the set. Each song seamlessly combines elements of classic soul, funk, and jazz, evoking an auditory experience that is both timeless and undeniably fresh. — a perfect cocktail of nostalgia with a modern twist.

As they powered through the next few songs — “OCD,” “Good Intentions,” and the relentless pop of “123456,” accompanied by the most enthusiastic, theatre-wide clap-along anyone has ever witnessed — they built momentum, with the band visibly feeding off of the crowd’s energy. Multi-instrumentalist James King, bassist Joseph Karnes, keyboardist Jeremy Ruzumna, and drummer Blair Sinta kept the heat up so that co-lead vocalists Michael Fitzpatrick and Noelle Scaggs, leading the clapping, could cook. Their cover of The Eurythmics “Sweet Dreams (Are Made of This),” originally released on their Live in Chicago album, was a delightful mid-set surprise.

With “Out of My League,” the band really hit the gas, urging the crowd to “lift a big heart into the sky.” The audience responded majestically, with both hands flying to the sky to form a field of swaying hearts, moving back and forth as if the music was the winds blowing them to and fro. Just as Fitz and the Tantrums got those symbolic hearts swaying and their literal hearts thumping, they built a giant backing-vocal ensemble from the crowd with “Moneymaker.”

In a personal moment, Fitzpatrick spoke about his wife, a native of Gilbert, and the time they spend in the area, visiting her family during holidays, signifying how much Arizona means to him and is in his heart, like a second home. Phone lights illuminated the theatre for “I Just Wanna Shine,” creating a sea of light. “All the Feels,” “The Walker,” and “Moneygrabber” propelled the show into the home stretch. After a moment when Fitzpatrick and Scaggs reflected on their journey as a band across the past 17 years, they led the show to a triumphant close with “Hand Clap.”

Right now, Arizona may be sultry on its best days and searing (mostly) on its worst, and Fitz and The Tantrums brough love and cool vibes to refresh us all.

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Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

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News, Performances, Tours

SOLD OUT: Hobo Johnson‘s “Loves the West Coast” Tour – Coming to Crescent Ballroom

April 14, 2023 Katherine Amy Vega Leave a comment

Tickets for Hobo Johnson‘s performance at the Crescent Ballroom in Phoenix have gone on sale! If you are a fan of his unique blend of spoken word poetry and hip hop, you don’t want to miss out on this opportunity. Hobo Johnson is touring all across North America with two tour legs: the “Loves the West Coast” and “Really Likes the Midwest…and East Coast” tours. All tour dates below.

For those who may not be familiar with Hobo Johnson, his real name is Frank Lopes Jr., and he gained popularity with his hit single “Peach Scone” in 2017.

Since then, he has released five studio albums and has been praised for his raw and honest approach to music. His live shows are known for their energy and unpredictability, and he has been known to engage crowds with his infectious personality, colorful stage presence, and undeniable talent as a performer.

The Crescent Ballroom is an intimate venue, which will allow for an even more immersive experience for concertgoers.

The performance is set to take place on Thursday, June 24th. Doors will open at 7:00 PM, and the show will start at 8:00 PM. Tickets are reasonably priced, and they are expected to sell out quickly. So, don’t wait too long to purchase your tickets.

If you are looking for a memorable night of passionate and relatable music, mark your calendars for Hobo Johnson’s performance at the Crescent Ballroom on June 24th. Get your tickets now before it’s too late!

All Hobo Johnson Tour Dates Can Be Found Here:

News, Performances, Tours

Fall Out Boy to Take the Stage for “So Much for (Tour) Dust” Summer Tour

March 26, 2023 Katherine Amy Vega Leave a comment

Fall Out Boy is set to hit the stage for their highly anticipated “So Much for (Tour) Dust” North American summer tour. The band, which has been making waves in the music industry for over a decade, plans to bring you their latest music from their 8th studio album, So Much (for) Stardust. The album was released on March 24, 2023, a staggering five years after their previous album, M A N I A.

The tour will launch in the Chicago-band’s hometown and Wrigley Field. Fans across the country have been eagerly awaiting the release, and now they’re finally getting their chance to hear the new tracks live. And the best part? They won’t be doing it alone. Bring Me to the Horizon will join them on most tour dates. And, on select shows, you can catch other incredible acts like Alkaline Trio, New Found Glory, Four Year Strong, The Academy Is…, Royal & The Serpent, Games We Play, Daisy Grenade, and Carr.

For the Phoenix tour date, the band will be taking the stage on June 30th at Talking Stick Resort Amphitheatre. It’s just one of the many shows the outdoor venue has planned for its jam-packed summer schedule.

If you’re a fan of the band, you won’t want to miss out on any of the action. Head over to https://bit.ly/3lDcodj more details on the “So Much for (Tour) Dust” North American summer tour.

With their combination of punk rock, pop and emo influences, Fall Out Boy is sure to bring you an unforgettable experience that you won’t want to miss. Mark your calendars and get ready to rock out with one of the biggest bands in the world!

Fall Out Boy Summer 2023 Tour Dates:

June 21* – Chicago, IL – Wrigley Field
June 23* – Maryland Heights, MO – Hollywood Casino Amphitheatre
June 24≠* – Bonner Springs, KS – Azura Amphitheater
June 27 – The Woodlands, TX – The Cynthia Woods Mitchell Pavilion
June 28 – Dallas, TX – Dos Equis Pavilion
June 30 – Phoenix, AZ – Talking Stick Resort Amphitheatre
July 1 – Chula Vista, CA – North Island Credit Union Amphitheatre
July 2 – Los Angeles, CA – BMO Stadium
July 5 – Mountain View, CA – Shoreline Amphitheatre
July 7 – Salt Lake City, UT – USANA Amphitheatre
July 9≠ – Englewood, CO – Fiddler’s Green Amphitheatre
July 11 – Rogers, AR – Walmart AMP
July 13 – Somerset, WI – Somerset Amphitheater
July 15 – Cincinnati, OH – Riverbend Music Center
July 16 – Noblesville, IN – Ruoff Music Center
July 18 – Cuyahoga Falls, OH – Blossom Music Center
July 19 – Bristow, VA – Jiffy Lube Live
July 21 – Charlotte, NC – PNC Music Pavilion
July 22 – Virginia Beach, VA – Veterans United Home Loans Amphitheater
July 24 – West Palm Beach, FL – iTHINK Financial Amphitheatre
July 25 – Tampa, FL – MIDFLORIDA Credit Union Amphitheatre
July 26 – Atlanta, GA – Lakewood Amphitheater
July 29 – Clarkston, MI – Pine Knob Music Theatre
July 30 – Toronto, ON – Budweiser Stage
August 1 – Forest Hills, NY – Forest Hills Stadium
August 2 – Boston, MA – Fenway Park
August 4 – Darien Center, NY – Darien Lake Amphitheater
August 5 – Holmdel, NJ – PNC Bank Arts Center
August 6 – Camden, NJ – Freedom Mortgage Pavilion

^≠Non-Live Nation date

*Alkaline Trio as direct support; all other dates feature Bring Me The Horizon as direct support

News, Performances

Weekend Bliss – Find Your Groove at These Phoenix Concerts

March 24, 2023 Katherine Amy Vega Leave a comment

The Phoenix metro area is set to host a myriad of concerts this weekend. So, if you’re looking forward to some live music and entertainment, we’ve got you covered with a list of some of the most prominent shows lined up in the coming days.

MANÁ

If you’re in the mood for some rock music, head over to the Footprint Center for MANÁ’s energetic performance. MANÁ is one of the most successful and influential Latin American rock bands of all time. Their unique blend of rock, pop, and Latin rhythms has garnered them millions of fans worldwide, and their live shows are renowned for their high-energy and electrifying performances. Their Footprint Center show promises to be no exception. Featuring a mix of their classic hits like “Rayando El Sol” and “Labios Compartidos” as well as new material from their most recent album “Cama Incendiada,” MANÁ is sure to have the crowd rocking all night long.

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Puddle of Mudd

On March 25, rock band Puddle of Mudd will be taking the stage at Marquee Theatre. Puddle of Mudd is a four-member rock band from Kansas City, Missouri. They have been active in the music industry since 1991 and have released several hit songs, including “Blurry,” “She Hates Me,” and “Control.” Their unique blend of alternative rock and post-grunge is sure to get you grooving and headbanging. Marquee Theatre, located in Tempe, Arizona, is an iconic venue that has hosted several legendary artists over the years. It offers a fantastic atmosphere for live concerts and has state-of-the-art sound and lighting systems, ensuring a one-of-a-kind concert experience.

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Meet Me at the Altar with Young Culture & Daisy Grenade

Alternatively, you can check out Meet Me at the Altar with Young Culture & Daisy Grenade performing live at The Rebel Lounge, one of the premier music venues in the city. These three groundbreaking acts are set to perform together on stage, promising an unforgettable night of music, energy, and fun. Meet Me at the Altar, a punk-pop trio from Florida, has been taking the music world by storm with their infectious beats, incredible energy, and undeniably catchy melodies. Their live shows are an experience not to be missed, as they command the stage with their upbeat sound and electric energy. Young Culture, an alternative band that has been making waves in the music scene, is also set to take the stage at The Rebel Lounge. Known for their emotive lyrics, smooth vocals, and catchy pop hooks, Young Culture’s live performances are a testament to their passion for music and their undeniable talent. And Daisy Grenade, a local indie-pop artist, is the perfect addition to this lineup with her charming personality, playful lyrics, and electric stage presence.

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Good Life Festival ft Kansas, Kenny Loggins, Blue Oyster Cult, & More

For a more laid-back experience, enjoy the 2-day Good Life Festival, headlined by Grammy Award winners Kenny Loggins and Kansas, at Schnepf Farms on March 25th and 26th. Saturday features 1964 the Tribute, former lead vocalist of Journey – Steve Augeri, Blue Oyster Cult, and Kansas. Sunday features Nate Nathan and the Mac Daddy-O’s Band and Kenny Loggins. This location is known for providing an exceptional atmosphere for all ages. With their sweet-smelling fruit orchards, charming atmosphere, and exciting events, it’s no surprise why Schnepf Farms is a top destination among locals and tourists alike. These acts are set to bring their best hits to Schnepf Farms, and this is a fantastic opportunity to experience great music in a family-friendly environment, surrounded by the beautiful landscapes that Schnepf Farms has to offer.

Saturday Tickets | Sunday Tickets

Copeland

Finally, ending the weekend with a bang, on March 26, Copeland will be bringing their signature indie-alternative sound to The Rebel Lounge, along with opener Kevin Garrett. Copeland has been a constant in the indie-alternative music scene for over two decades, capturing our hearts with their heartwarming lyrics and signature sound. The band has left a mark on the music industry with their unique style, and their latest tour promises to be a showstopper. Their music is a fusion of indie rock, pop, and alternative music. With each melody, they create a fusion of sounds that are uniquely theirs that will send shivers down your spine.

Their latest album, Blushing, is a culmination of their musical journey, showcasing their growth over the years. Their live shows are an experience that embodies the essence of their music perfectly. From their ethereal soundscapes to their heartfelt ballads, Copeland’s performance is an emotional rollercoaster. Their music is deep, meaningful and cooked to perfection, making it a dish that no one can refuse. For those who haven’t had the chance to watch them live, here’s your chance.

SOLD OUT

Yeat

Want to take it to the next level? American rapper, singer-songwriter, and record producer Yeat’s concert at Arizona Financial Theatre is the ultimate destination that you need to visit. Since 2021, Yeat has been viral online, and on February 24, 2023, Yeat already released his third studio album, Afterlyfe. Yeat is a dynamic performer with an exceptional talent that ignites the stage, leaving his audience immersed with a mesmerizing experience. Arizona Financial Theatre is the most prestigious venue for concerts in the region, famous for hosting prominent artists and performers. Since its inauguration, the theatre has garnered an excellent reputation for its advanced facilities and impeccable services, creating the ideal ambiance for music lovers.

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With this exciting lineup of artists, there’s something for everyone to enjoy this weekend. So, grab your friends and family, and head over to these concerts to groove to the beat and enjoy a spectacular evening filled with music, entertainment, and unforgettable memories. Ensure that you have all the latest information and details for each event to guarantee an uninterrupted concert experience.

So, what are you waiting for? It’s time to feel the rhythm and hit up these concerts in the Phoenix metro area – you won’t be disappointed!

Don’t Miss It: Buy Tickets

Akia and 4Batz Set the Tone

An April Fools’ Moment Kicks Off Mariah’s Set

Hearts Sold Separately Themes Come to Life on Stage

Crowd Participation Becomes the Show

The band assembles and Josh Freese returns

Visuals as an instrument

Peak intensity and set highlights

The final stretch: “Closer” to the closing moments

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

Peeling back the decades

Community Before the Lights Went Down

Act 1: A Confident Opening Statement

Act 2: From Cosmic Reset to Commanding Power

Act 3: Individuality at the Core

Act 4 and Encore: Where TWICE and ONCE Became One

yuniVERSE

Purity Ring

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View Extended Galleries for Each Artist:

Purity Ring & yuniVERSE – The Van Buren 11-10-25

New Found Glory

Jimmy Eat World

The Offspring

Setlists

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The Offspring & New Found Glory – Talking Stick Resort Amphitheatre 8-27-25

LØLØ’s USA Headline Tour Dates

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LØLØ – Arizona Financial Theatre 8-14-25

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Fitz and The Tantrums

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Fitz and The Tantrums – Arizona Financial Theatre 8-8-24

All Hobo Johnson Tour Dates Can Be Found Here:

Fall Out Boy Summer 2023 Tour Dates:

MANÁ

Puddle of Mudd

Meet Me at the Altar with Young Culture & Daisy Grenade

Good Life Festival ft Kansas, Kenny Loggins, Blue Oyster Cult, & More

Saturday Tickets | Sunday Tickets

Copeland

SOLD OUT

Yeat

News & Reviews from the Fiery Mosh Pits of Arizona