I found myself back in the pit for the first time since the last time and damn was this a special one.  This time not only did I check off another adolescent idol on my shot list [Headliner, Miguel], but I also got to photograph my favorite artist on the planet, Jean Dawson. Suffice to say, neither of these guys disappointed.

Third time was absolutely the charm when it came to this night, as in my third opportunity to see Jean Dawson perform live [in as many years] I was finally able to photograph him in action. Each time I’ve seen [Dawson], I’ve seen him grow as a performer. There was a comfort in this show, an ease, even if that was just my perception, he felt truly and completely… there.

Jean opened the show with Boohoo banger “New Age Crisis”, a meanderingly electric kick of energy out of the darkness. The slow build of this song made it the perfect start for the show; pulling everyone out of the pre-show shroud and throwing them [gently] into the deep end. Crisis was followed up by Glimmer of God standouts “White Lighter” and “Black Sugar”, before jumping into Rock A Bye Baby, Glimmer of God cuts “Prize Fighter” and “Rock A Bye Baby”.

The crowd got every flavor of Jean’s current era, kinetic loathing and darkening pop explosions, tinged with hope, longing, and honesty. Closing out the set on a sentimental note, [Jean] played “Houston”, followed by “Darlin’”, which he dedicated to his father, a soon to be married, black veteran. In seven songs, we cycled through the full gambit of emotions, and dammit I wouldn’t expect anything less from he man himself.

I couldn’t recall for you the first time I heard “Adorn” or “Sure Thing”, or even “Lotus Flower Bomb” [yes, I am aware it isn’t actually a Miguel song], but Miguel has been apart of my musical upbringing since I was a young teenager. To say however, that this was the same Miguel that seemed to… appear out of the ether back in 2010, would not be entirely true. Miguel is one of my clearest examples of evolution in an artist. What I saw Sunday night was a full-blown rockstar, dripped in r&b soul.

I will never hesitate to call out truly exceptional production design, it is entirely too overlooked in my opinion; and in this case, Miguel’s production design was downright amazing. First off, the man appeared out of the fog, standing atop a literal upside down car [a bruised and battererd cop cruiser, no less], cloaked in a badass leather moto jacket; like I said, rockstar. He kicked the set off with a trio of CAOS cuts, first being “Perderme”, and followed by [title track] “CAOS” and “The Killing”. Just a couple songs later though, we slipped into our first run of classics, “How Many Drinks?” [as you might imagine, this alone damn near tore the roof off] and “coffee”.

This is a good place to mention that [to no fault of Miguel] the amount of people who passed out at this show was crazy; harkening back to 2022 when I shot a Kehlani show [under the very same roof]that saw without a doubt the most passed out fans I have ever seen to this day. The number of times Miguel was forced to stop the show so ailing fans could be attended to was simply too many; so PLEASE PEOPLE, DRINK WATER! What I will say, as far as themes go, this was certainly a chaotic show.

Crowd theatrics aside, I have taken way too long to address a very important part of, bot just this show, but the tour in its entirety, the politics. Both Miguel and Jean Dawson are Mexican-American artists. That’s always meant… something; but not more than it does RIGHT NOW. As this thing we all live under and within continues to crumble under white hubris, these two men embarking on a country-wide trek is the reason art is so important. I’ve loved Miguel’s music since I was a boy, but my favorite part of his show wasn’t listening to any song; somewhere between “New Martyrs”, “Triggered”, and “El Pleito” Miguel walked to the side of the stage, grabbed a can of paint from the shadows and proceeded to spray the [aforementioned] overturned car in red letters: ICE OUT. The crowd erupted, and the seasoned singer lead us all in a unifying chant, “1,2,3, FUCK ICE!”. What a beautiful sentiment, ringing unrelenting from the rafters

As for the rest of the show, there was obviously a lot more great music. Eventually [Miguel] made it to the go classics, “Arch & Point”, “Adorn”, “Simple Things”, as well as newer slaps “Oscillate”, “Nearsighted [SID]”, and more. In all, the singer played through 20+ songs spanning his decade and a half career, thus far. Though I missed the last few songs of the set in order to get back to my car before the garage I parked in closed (parking passes would be awfully nice @LiveNation *cough cough*), this show wildly exceeded my expectations. Start to finish it was, as the kids say, a movie. So, if I were you, I’d catch CAOS in a city near you, quickly.

IMAGE GALLERY BELOW!

Portugal. The Man brought the Support Your Local Crews and Workers Tour to The Bomb Factory in Dallas, Texas, delivering a set that highlighted both their evolving sound and the depth of their catalog. With La Luz opening the night, the show felt carefully paced and built for longevity and a good night..

La Luz set the tone early with a focused, self-produced sound. Their hazy, surf-leaning psych rock translated well live, carried by tight playing and strong harmonies. It was an effective opening set that warmed up the room.

Portugal. The Man opened with a stretch of new material, giving those songs room to stand on their own. After finishing that section, John Gourley addressed the crowd, explaining that he wanted to showcase the new songs first before transitioning into the bangers. From that point forward, the set shifted into a fast-moving run pulled from across the band’s catalog, jumping between albums and eras without losing momentum. With the number of strong songs they’ve released, the back half of the set felt naturally packed with highlights.

The band’s stage setup reflected their fluid approach to performance. A central desk sat mid-stage, acting as a shared hub for microphones, keyboards, and additional gear. From there, the band cycled through vocalists throughout the set, constantly shifting roles while regularly uniting on strong, layered harmonies.

Alongside John, male and female vocalists traded lead parts, keeping the performance dynamic. One female vocalist stood out for wearing a Speed shirt, while the male vocalist brought relentless energy, running across the stage and jumping off equipment for nearly the entire set. Meanwhile, the female guitar players were fully locked in, driving the songs with confidence and presence.

Behind the band, the LED wall delivered a steady stream of surreal visuals that stayed unpredictable throughout the night, including moment featuring a female gimps riding a banana, bodies running while shaking like jelly and Norm Macdonald.

At the start of the encore, John briefly spoke about three charities the band supports before the band closed out the night on a high note.

Having seen Portugal. The Man at The Bomb Factory eight years ago during a mind-blowing set, it was impressive to see that they’re still delivering at that level. Even with evolving material and shifting members, the band continues to put on a show that feels confident, cohesive, and built to last.

Marking both the 10-year anniversary of their debut album Never Happy, Ever After and their first headlining run in the United States in over six years, the Tenth Time Lucky Tour served as As It Is’s celebratory welcome back to the scene. Playing seven shows in eight days, all leading up to a Vans Warped Tour Orlando set, this tour was a long overdue reunion packed with nostalgia and catharsis.

Before the headliners reclaimed their status, Cherie Amour and Bearings hit the stage first. Cherie Amour amped up the crowd with their nu-pop, bringing together elements of alternative rock, R&B, and post-hardcore. Rhythmic, rap-inspired flows and energetic instrumental breakdowns weaved between smooth vocal runs. They properly hyped up the crowd and set the tone for the night–what lie ahead would be a refreshing take on a familiar sound.

Bearings continued to warm up the crowd following Cherie Amour. The Canadian pop punk group has a refined sound that blends catchy hooks with an emotional punch, and they brought a subtle confidence to the Hell stage at the Masquerade. Bearings aren’t a band that begs for attention, but with consistent delivery song after song, they earn praise from everyone in the venue.

At last, As It Is took to the stage—older and more self-assured, but still carrying the frantic heart that defined them a decade ago. The moment the band came on stage, the electricity in the room shifted. Frontman Patty Walters appeared with a grin that carried the utmost gratitude, clearly feeling the weight of a US headliner after such a long absence. Nostalgia didn’t soften the show, it sharpened it. They tore straight into Never Happy, Ever After, the album that launched their careers, turning the venue into a chorus of voices shouting lyrics that had lived in the heads and hearts of many for ten years.

Hearing the album performed in full with the precision and emotional range of a band who have grown beyond the twenty-somethings who wrote them, but still with the same heart and vigor, was unexpectedly powerful. The songs felt renewed, heavier at times, brighter at others, like they had matured alongside the people singing them back.

Following Never Happy, Ever After, As It Is launched into a full second set, featuring top hits off the rest of their discography. Beginning with the Never Happy B-sides, and working their way through the lighter okay. Era and the slightly dad-rock sound of their most recent releases, the band closed out the night with the emotional release of songs off The Great Depression. In true last-show-of-tour fashion, there were guest appearances throughout the set, including Brendan Willis of Cherie Amour and multiple members of their crew, as well as all bands and crew storming the stage for a hearty performance of the macarena.

The night was not just a celebration of an album, but the return of a band who refused to fade into the memory of the 2010s alternative scene. If the Tenth Time Lucky Tour proves anything, it’s that As It Is are not just revisiting their past; they’re reclaiming their place, louder and stronger than ever.

Winona Fighter’s headlining stop at The Masquerade's Hell Stage marked the next page of an already exhilarating chapter for the band. Fresh off releasing the deluxe edition of their debut album, My Apologies To The Chef, which garnered well-deserved attention and landed the Nashville trio on several major festival lineups, the band took Atlanta by storm. With Vans Warped Tour Orlando on the horizon, this show carried the electric sense that Winona Fighter are standing on the edge of something huge.

The openers leading up to Winona Fighter presented a dynamic range, but the talent was consistent across the board. From Diva Bleach’s radio-ready pop rock, to Not My Weekend’s upbeat pop punk, to Action/Adventure’s heavier sound, folks in the crowd at the Masquerade’s Hell Stage got to experience a variety show of up-and-coming acts in the scene. Diva Bleach more than captured the attention of the crowd with their magnetic stage presence, while Not My Weekend reeled them in further with irresistibly catchy choruses. Finally, Action/Adventure delivered a final impressive blow with unexpected but well-placed breakdowns that foreshadowed the grungier element of the headliner for the night.

From the moment Winona Fighter’s frontwoman Chloe Karr bounded onstage, it was clear that this was going to be a performance powered by equal parts musicianship and charisma. Winona Fighter have always leaned into chaos in their art, but live, it’s controlled chaos–sharp, cathartic, and hilariously unfiltered. Karr covered every square inch of the stage, making sure every person in the audience felt involved. The Winona Fighter set was filled with everything one might expect from a modern-day punk show: relatable and candid anecdotes, political commentary, and, of course, a healthy dose of 2-step moshing.

What makes Winona Fighter’s show so immediately gripping is how effortlessly they connect, the tremendous amount of energy put into their performance, and their adaptability to any show they are playing. Whether it is a main stage at a festival, or the basement of a multi-stage venue, they treat every crowd like a party they’ve been waiting all week to crash. Still, beneath the antics, we have a highly skilled group whose chemistry translates beyond the stage into a tangible feeling among the crowd.

Following a successful set at Vans Warped Tour Orlando, Winona Fighter are headed off to support the last leg of Waterparks’ Prowler Tour, covering the United States Midwest, Southwest, and West Coast dates, and culminating at The Brooklyn Bowl in Las Vegas. The future is bright for the punk music scene, and Winona Fighter are leading the charge.

On the final night of the European leg of his highly anticipated Idols: The World Tour, YUNGBLUD turned Halloween into a riotous celebration of self-expression, community and unfiltered rock and roll. With Weathers and Palaye Royale as the openers, the night highlighted a range of talent from the alternative rock scene.Italian fans and those from surrounding countries queued early on in the morning, knowing that what they would witness that night would be history in the making.

Los Angeles-based alternative rock band Weathers kicked off the night, and although Coffee & Shugar was only able to catch the last song of their set, it was clear they successfully amped up the crowd. Following Weathers, American rockers Palaye Royale took the stage with their high energy art rock capturing the attention of everyone in the audience. Palaye Royale was a perfect decision for a main support act, given that they already have a solid European fanbase. Furthermore, few can match the energy on stage as that of the headliner, but frontman Remington Leith does so effortlessly. His coarse but controlled vocals and his brothers’ and bandmates’ instrumental excellence came together for a performance that was nothing short of impressive. If Weathers are the angsty, emo “younger sibling” of the openers this tour, Palaye Royale is the refined “older sibling,” both contributing to creating the atmosphere of the show.

When Black Sabbath’s “War Pigs” began playing on the arena speakers, fans knew it was time for YUNGBLUD’s set. The anticipation grew with strobing lights and a musical intro until YUNGBLUD exploded onto the stage with “Hello Heaven, Hello,” the anthemic opening track on his latest album, Idols. Every night, every show, no matter how big or small, and no matter how long he has been touring, YUNGBLUD will pour every ounce of energy into a performance as if it’s his last, and Bergamo was no exception.

YUNGBLUD has grown beyond the role of a singer–he is ring-master, cheeky provocateur, and intimate comrade all in one, and likewise his set grew into something more than just a rock show. From his mind-blowing vocals on “My Only Angel,” to his tradition of bringing a fan on stage to play “Fleabag” on guitar, to his heartfelt tribute to the late Ozzy Osbourne, his Idols Tour evolved into a celebration of rock and roll and the community it fosters.

Bergamo, Italy is just one of many dates on the Idols World Tour to sell out. High demand led to additional dates being added to the United Kingdom & Ireland leg, and the second North American run sold out in under a minute. These multiple sellouts are the most recent in a string of feats since the release of his album including the release of “One More Time,” a collaborative EP with Aerosmith; performing a tribute to Ozzy at the VMAs; the second production of his own festival, Bludfest; the launching of his retail store B.R.A.T.; and even two Grammy For You Consideration entries. With success after success at the young age of only 28 years old, this is only the beginning of his rock and roll revival. If you’re able to catch him on his meteoric rise to the top, you absolutely won’t regret it.

Vibrant Music Hall in Waukee, Iowa, a Wednesday Night and a nearly full room. Everyone was absolutely talking about All Time Low!

I have to be honest, this show was a whirlwind, bucket list, dream show that I was honored to attend, and photograph. All Time Low and The Cab are HUGE parts of my life when I was younger.

I drove just shy of 550 miles round trip in about 12 hours to shoot this show, and I wouldn't change a thing! Making the trip from Minneapolis down South to Waukee Iowa was such a fun solo road trip for me. I listened to all the bands on the bill for this show, including their older stuff that I was hooked on back some 10+ years ago. I remember calling around to all the different Best Buy stores near me, asking if they had the new ATL record in stock and begging my mom to drive me to go get it. Replaying those songs on the 4 hour drive there and another 4 hour drive home, arriving around 230am.

OK, enough of reminiscing for me, let's talk about the show. It was AWESOME. All Time Low bringing Mayday Parade, The Cab and up and comers The Paradox, was such a perfect bill, this Wednesday night was full of nostalgia, whitty jokes, and good vibes!

The Paradox

The Atlanta based 4 piece pop punk band “The Paradox” is proving that pop punk isn't dead and possibly more alive than ever.

These guys are so fun to watch, I can't lie. They blend jokes, catchy hooks and high energy into their jam packed 20 minute set. Between songs they talk some friendly smack to each other and explain how the next song came to be.

With a feature from Travis Barker on one of their songs, they have some big shoes to fill but they're filling them well if I do say so myself. They have great energy on stage, quality vocals from their lead singer and some solid vibes during their set!

Make sure to catch these guys when they come through your town, you're in for a treat!

The Cab

The Boys are BACK! After roughly 10 years, The Cab returns to the stage, without skipping a beat.

These guys are still as absolutely rock solid as ever, if not better.

Getting to see these guys live again, for me personally, was a dream come true. I've been a fan of theirs since 2008. To top it off I got to shoot their set. This night, I will never forget. Not to mention, my wife and I used their song "Endlessly" during our wedding ceremony. These guys have a special place in my heart.

Their 7 song set included the classics, and a new song from their most recent EP.

Wrapping up their set with what Lead Singer Alexander DeLeon describes as "one of the band's favorite songs to play live". "Temporary Bliss" hits so well live! It's clear the guys love playing it. Followed up with a rock solid version of arguably one of their most popular songs, "Bounce" and ending the set with "Angel With A Shotgun", Alex walked off stage letting the rest of the guys soak it in.

Truly a class act from Alex and an absolute clinic on how to perform.

The guys in The Cab just released a new era of their music, with a 4 song EP called 'Road To Reign: A Prelude’. A new style that fits well in their live show. Alex admitted "Stay This Way Forever" was about their journey to getting back together and all their fans.

I was so happy to see them live for the first time in truthfully, what could be over 13 years. (I may or may not have checked the last time they were back in my hometown of Milwaukee) I was singing at the top of my lungs that first 3 songs we got from the pit, where some of the baricade fans were pointing at me, almost as if to acknowledge that a photographer actually liked the band on stage.

Can't wait to see what The Cab will do in the future. All I know is I truly hope they come back to the midwest soon!

Mayday Parade

“Nostalgia kings” as I called them, prove that after 20 years, they're still going strong.

Starting their set off with a new song “Under My Sweater” the 5 piece then took it back to their roots with a larger than life version of Jersey. Again, I was singing this one as loud as I could in the pit.

The guys brought a ton of energy and solid musicianship to Waukee’s newest venue just west of Des Moines.

With interactive graphics and 2000’s emo running through the venue, it was clear the crowd got exactly what they wanted.

Mayday Parade sound great, even jumping around and getting the crowd into it, lead singer Derek Sanders and the rest of the band didn't skip a beat. Their 10 song set, was truly a blast from the past. Including "Piece of Your Heart" from 2018 and "Kids in Love" from 2010.

Including some of their newly released music, songs like "By the Way" and "Pretty Good To Feel Something". By the Way was super catchy. Derek handled the harder notes well and kept the energy alive by jumping around the whole set!

Wrapping up the set, 2 of my personal favorites "Black Cat" and "Jamie All Over" made sure everyone in the room was taken back to 2008

Such a great set and trip down memory lane. make sure to check out their new stuff, I was pleasently surprised, and I think you will be too!

All Time Low

Everyone is DEFINITELY talking about All Time Low.

The 4+1 piece (Bonus guy, Dan) Maryland born All Time Low is back with a vengeance!

Fresh off newly released album "Everyone's Talking" 2 weeks prior. All Time Low headline the 2 year old Vibrant Music Hall, about 15 minute Southwest of Des Moines, with a nearly sold out crowd on a mid-week Wednesday night.

Opening their set with the “Cold Open” from their latest album, the boys in ATL are back after 4 years. The set full of fan favorites and typical banter! With a multi level stage design, full of LED light bars and light towers with a dozen moving heads each, drummer Ryan sat keeping the guys in time and adding some fun fills to crowd favorites.

Using their full stage production to it's fullest capability, songs like "TimeBomb" hit just as hard as 14 years ago when first released in 2011,  the only thing missing was the stage full of people. IYKYK.

The crowd kept Vibrant Music Hall on a Wednesday absolutely going all night. From the balcony to the corners of the pit, there wasn't much extra room. While not advertised as a Sold Out, it sure felt like it.

Going through their hour and a half long, nearly 25 song set, the ATL crew took it back to the beginning. Taking a moment to slow things down with a heart wrenching version of "Missing You" right in the middle of the set.. Which truthfully got me choked up a bit. This song hits hard for many, myself included.

Quick moment of appreciation - Special shout-out to  lead singer Alex Gaskarth, being able to push through a vocal chord infection after cancelling a show or two I believe just a couple weeks prior to tonights show. He sounded perfect all night not skipping a beat and giving us a surprise during a song later in the set.

As per usual, Lead Guitarist Jack Barakat and Alex keep the whitty banter we've all come to know and love throughout their set and kept the charm of an ATL show alive. It's truthfully surprising that ATL is still so damn good live after all these years.

Following a quick “intermission* with "Goodnight, C'est La Vie" playing on the video board at the back of the stage, the guys bring it back at 100% full energy and bring us down the home stretch of their set with "Butterflies" accompanied by an outfit change for Alex, Jack and Zack also shed a layer up top.

Just a couple songs later, a moment that caught me off guard was ATL playing a couple songs with features of folks who weren't at the show

First was“Hate This Song” they released that featured the guys in Iprevail, and absolutely, they did them proud. Alex screaming a few lines that truly surprised me. Who knew Alex had it like that?

Followed up by Monsters, featuring Blackbear and or Demi Lovato. (Depending on what version you're used to. Alex handled the whole song front to back with precision. Including the rap verse with ease like Blackbear in the online favorite "one breath challenge" just before walking off stage simulating the end of their set.

The stage, dark. With only an "On Air" graphic in the upper right corner on the stage wide video board.

Returning back to the stage solo is Rian for a quick drum solo, quickly joined by the rest of the guys to play their final songs including "The Weather", "Lost In Stereo", "Poppin' Champagne" and an awesome version of “the Beer Song” I'm sure to come to a future album! (Again, IYKYK)

Last but absolutely not least, ATL finished out the night with the cult favorite "Dear Maria" accompanied by a handful of Wacky Wailing Inflatable Arm Flailing Tube Men across the stage. To which, Jack decided to air box and "hug" them as the song and set came to a close.

In true ATL fashion, a guitar toss and a louder than life crowd wrapping up the night, the guys in All Time Low are too much fun to watch live. Alex carried the guys with great vocals when he wasn't joking around with Jack. Zack, calm cool and collected brought the energy and partnered with Rian to keep the guys locked into the groove all night.

Safe to say, I'm definitely talking about this night for a LONG time.

Last Saturday, Lake Street Dive brought a masterclass in musicianship, energy, and community. With Trousdale and St. Paul & The Broken Bones setting the stage, the evening unfolded like a carefully crafted mixtape—warm, groovy, and joyous.

Trousdale, a rising trio out of Los Angeles, kicked off the night with crisp harmonies that caught the attention of early concert-goers braving the Florida mugginess. Their blend of pop, folk, and indie-soul felt both refreshing and timeless. They easily won over the hearts of the crowd with their modest charm, perfectly setting the stage for the rest of the night.

If Trousdale eased the audience in, St. Paul & The Broken Bones kicked the energy into high gear. Frontman Paul Janeway, with his flamboyant stage presence and powerhouse voice, and the band’s horn section blasting funky grooves that echoed back to their soul roots, they certainly got the crowd going. Anyone could have easily mistaken them for the headliners by way of audience cheers. For the only night featured on this tour, St. Paul & The Broken Bones turned the amphitheatre into a church of rhythm and release, leaving a strong impression on anyone previously unfamiliar with the artist.

Finally, Lake Street Dive took to the stage, diving straight into fan favorites “Good Together” and “Stop Your Crying” that showcased their versatility. With their infectious, upbeat sound, nobody could resist dancing. The top of the class musicianship overlayed with Rachael Price’s voice, a soulful instrument in and of itself, showcased their defining sound.

The band worked through a career-spanning setlist, balancing hits from each era of the band. Longtime fans would appreciate that Bad Self Portraits, celebrating ten years since its release, was represented in the setlist nearly as much as their most recent full-length album, Good Together. Their chemistry was undeniable—years of touring together evident in the way they seamlessly transitioned from a full stage, full band setup to a center stage acoustic set. Huddled together and singing stripped back versions of songs like “How Good It Feels” and their cover of “I Want You Back” by The Jackson 5, they transformed an amphitheatre show into a dive bar stage with an intimate sound to match. Throughout the set, each band member got to have their moment in the spotlight, whether it was the battle of the strings between James Cornelison and Bridget Kearney, a silky smooth piano or vocals solo from Akie Bermiss, or the rare but respected vocal performance from drummer Mike Calabrese. They closed out their set and sent their fans out into the night with the triumphant, empowering fan favorite, “Good Kisser.”

From Trousdale’s brilliant harmonies, to St. Paul & The Broken Bones’ fiery showmanship, to Lake Street Dive’s dynamic headlining set, the night was a perfect showcase of modern soul’s many faces.

Hard Rock Live Orlando was packed wall-to-wall with fans ready to witness a bittersweet final Florida performance for Our Last Night. The band, who’ve built their reputation on genre-bending covers and explosive originals, brought along Grayscale and Wind Walkers as openers, setting the stage for an evening that balanced nostalgia, energy, and raw emotion.

Wind Walkers opened the night with a roaring intensity that immediately commanded attention. From the soaring melodies in “Almost Ecstasy” to the heavy breakdowns in “Silk & Static,” their sound was rather reminiscent of the very band that they were opening for. But their infusions of electronic elements, with “Bodybag” as a perfect example, ensured that they set themselves apart, delivering a refreshing take on the sound that defined 2010s metalcore. It was clear they weren't taking their opening slot for granted, keeping the energy high with minimal breaks between songs so they could showcase as much as they could from their 2-album collection. While it may be Our Last Night's final tour, fans can expect that Wind Walkers can carry on the gauntlet.

Grayscale followed, straying from the heavier sound of the other bands on the bill and shifting the mood with their brand of emotional, melodic rock. Their songs carried a mix of melancholic lyricism and anthemic choruses that engaged the crowd in a different way—heads bobbing and watching intently. The band’s chemistry was effortless, and their set gave the evening a welcomed dynamic contrast. Still, as a nod to Our Last Night, Grayscale performed their own cover of Van Halen’s “Panama,” which the crowd went wild for. Having recently toured with Mayday Parade, and prior to that Smallpools, who they just released a version of “Some Kind Of Magic” with, and now opening for Our Last Night, it seems that Grayscale has found themselves as the jack of all trades as far as touring goes. After this tour, however, fans from all genres will be eagerly awaiting a headlining Grayscale set.

Between Grayscale and Our Last Night, pop hits from the 2010s kept the crowd entertained, shifting from the previous pop punk and alternative rock tracklist and foreshadowing the headlining band's set. When the lights dimmed for Our Last Night, the room erupted as the band emerged to a sea of cheers that made it clear just how much this band has meant to their fans over the years. Their setlist was carefully balanced with heavy-hitting deep cuts from their early records, fan-favorite covers that launched them into YouTube stardom, and polished tracks from their more recent catalog. The dual vocals of brothers Trevor and Matt Wentworth complimented each other well, hitting the upper register notes and lower register screams with an ease that seemed all too natural. Every note, strum, and beat was delivered with precision. Without a doubt, Our Last Night delivered a performance to remember.

For longtime fans, the Orlando stop was more than just another concert, it was a chance to celebrate everything Our Last Night accomplished and the community they built along the way. Though this may have been their final tour, Our Last Night’s impact will linger long after they step off the stage. The Final Tour continues for another week and a half, stopping in major cities in the midwest and ending in Nashville. Get your tickets while you can–this is not a show you want to miss.

D4VD, the rising sensation whose music has taken social media and streaming platforms by storm, delivered a performance that was nothing short of legendary. Fans arrived early, many five hours before doors opened, staking their claim in line with a mix of anticipation, dedication, and perhaps mild obsession. By the time the first song filled the room, the energy was already up, a perfect prelude to a night of unforgettable music.

The night began with Bryant Barnes, whose voice is so effortlessly angelic it could likely calm a hurricane. His set was a study in contrast to the energy that would soon consume the room. It was soft, slow, and deeply intimate. As his vocals floated across the crowd, it was clear why the anticipation for D4VD was so intense. The audience was ready, primed, and utterly captivated. Phones were raised, screams echoed off the walls, phone lights were raised and arms were swaying.

Bryant’s opening set wasn’t just a warm-up. It was a masterclass in connecting with an audience. Every note, every gesture, every glance was met with overwhelming adoration, a gentle reminder that tonight was about shared experience as much as music.

D4VD exploded onto the stage. His entrance was less a walk-on and more a full-blown ignition, jumping, dancing, and immediately engaging the crowd. The venue became a blur of motion, lights, and emotion. He threw labubus merchandise into the audience with the biggest smile, signing everything in sight and ensuring that not a single fan left without a personal interaction. This wasn’t just a concert. It was an immersive experience, a moment in time that left everyone in the room feeling seen, loved, and energized.

If the performance alone wasn’t enough to set the night on fire, the audience did the rest. Fans screamed, danced, and even cried, swept up in the tidal wave of sound and energy. Some were overcome with emotion, while others channeled it into pure, unrestrained movement. The devotion was tangible, almost physical, a living, breathing thing that filled every corner of Marathon Music Works.

It’s rare to see a crowd so fully engaged from start to finish. When the artist took a moment to connect personally with fans, signing merch or throwing playful banter into the mix, the effect was almost magical. The sense of community and love in the room was undeniable.

The visual elements of the show were equally compelling. Lighting shifted seamlessly with each song, highlighting the emotional range from intimate ballads to high-energy beats. Smoke, strobes, and subtle visual effects created a cinematic atmosphere, making the show feel bigger than the venue itself. D4VD’s choreography was precise yet playful, keeping the audience’s eyes glued to the stage while encouraging full participation. Every detail, from the placement of speakers to the direction of lights, was carefully considered, creating a performance that was as visually stunning as it was powerful.

From the first guitar riff to the final encore, D4VD’s set was a journey. Each song was performed with a sincerity and intensity that made it impossible not to get swept up in the moment. There were moments of quiet intimacy where the audience collectively held their breath, and moments of pure chaos where everyone in the room was jumping, dancing, and screaming in unison.

One of the most unforgettable moments came when D4VD brought a fan on stage for the performance of the collaboration song with Laufey. She absolutely killed it, delivering a flawless and emotional rendition that had the crowd roaring, cheering, and completely in awe. It was a perfect example of D4VD’s ability to make every person feel seen and part of the magic

What sets D4VD apart from so many performers today is his dedication to making each fan feel seen. Every interaction, every signed poster or piece of merch, felt intentional. No one left without a tangible memory, a personal touch that elevated the night from “amazing” to “unforgettable.” It’s rare in a world dominated by social media that an artist can make a room of hundreds feel so individually recognized, and D4VD did it effortlessly.

In an era where live music can sometimes feel formulaic, D4VD reminds us why we fell in love with it in the first place. Flawless performances, genuine audience connection, and the kind of energy that leaves you both exhausted and elated. Fans will be talking about this night for months, if not years, and for good reason.

D4VD didn’t just perform. He created memories , one screaming, crying, dancing fan at a time.

I honestly don’t know where to start. I guess I should lead with this, I am a Beyonce fan, and not even for the music in particular, but for who she is, what she represents culturally, I understand and respect the weight of that. That’s what makes it difficult to say that this was likely the worst concert experience I’ve ever had; I will clarify immediately however, I only witnessed about 4 total minutes of the show. As far as I know, Beyonce put on an incredible show, the likes of which she has become singularly known for; and in the few minutes I saw, that’s exactly what I got, but for me, that was it.

I’m no stranger to long waits and crappy parking situations, but even with literal blocks of streets shutdown or partitioned off (including shutoff traffic lights) the roads could barely contain the number of cars jamming their ways through. Though it only took about 80-minutes [give or take] to get to the stadium limits, getting into the parking lot took in additional 45-50 minutes. Even with droves of staff in the streets, trying to direct traffic, it was lawless. Regardless, I eventually made it into the lot, Lot A (Gold), which cost me $86… to park… a regular sized vehicle, I’m sure that’s not particular to this concert, but I still find it ridiculous and felt it worth noting, nonetheless.

Upon parking, I headed to the box office, which had a line, but it didn’t seem super long, so I figured it’d be a quick ticket pick-up and into the venue. That is not what happened. After standing in line for about 10 minutes, I and a few others waiting to be helped were notified that will-call tickets were to be picked up at a different box office, on the other side of the stadium. About halfway through my trek to the other side, I listened to the crowd inside go absolutely bonkers as the show began. Stride after stride after stride, I walked, all the while Beyonce was taking the stage. When I finally made it to the correct box office, I was met with a hoard of fans, clustered in barely legible lines; this is where I spent the majority of the concert. In all, I stood in line for close to 70 minuets, as over-worked and underpaid staff struggled to get people the tickets they had spent their hard-earned money on.

By time I finally received my ticket, I was dehydrated, shirt thoroughly sweat through, and heading into a show that was already 90 minutes in. Still, this was Beyonce, and though I wasn’t the happiest of campers by this point, I’d come all this way for a chance to see a generational icon, still in her prime. Unfortunately, by the time I got to where my seat was, which once again, was on the other side of the stadium, it was dark, packed to the brim and burning hot. A kind stadium worker, pointed me in the direction of my section and eventually I found the aisle I was to be in; However, about halfway through shuffling to the seat, I realized all of them were filled, someone had taken my seat, and the only one open was for someone who had just gone to get food; so I sat in the temporary seat for a few minutes before the rightful owner returned, and what I saw was nothing short of amazing. I mean the spectacle, the vastness of it all, I can truly say I have never seen anything like it, and I truly hope I get to see the full thing someday, in whatever iteration it will eventually become. Beyonce, Queen Bey, is as true an icon as this generations has.

Eventually the young lady who’s seat I had commandeered returned, and I shuffled my way down the aisle; when I came to my seat, I did inform the woman sitting in it that it was mine, but she claimed it wasn’t; so, rather than starting a back and forth, arguing, or fumbling in the blaring darkness for further assistance, I finally decided to cut my losses. My mouth was dry, clothes damp with sweat, and quite frankly, I was too pissed and too tired to stay any longer. So, I walked out of the stadium and back to my car, and I drove home, all the way wondering, what could have been.

Turnover brought their signature brand of ethereal, atmospheric indie rock to a packed house at Marathon Music Works in Nashville this past Friday night. Joined by Citizen and Horse Jumper of Love, the night offered a full-spectrum showcase of shoegaze, alt rock, and everything in between.

Horse Jumper of Love opened the evening with their hypnotic, slow-burning set. Their hazy vocals and understated stage presence created a mellow, immersive atmosphere that set the tone for the rest of the night. Next up, Citizen brought a jolt of energy with a dynamic performance that blended grit and melody. Their set balanced heavier tracks with melodic favorites, and they had the crowd fully engaged from the first note to the last. Crowd surfing kicked off during their set, adding to the energy in the room. Citizen continues to prove why they’re a staple in the alternative scene.

By the time Turnover took the stage, the room was buzzing with anticipation. Their performance was focused and consistent, showcasing strong musicianship and clean production. The lighting design was moody and atmospheric, complementing their sound perfectly and adding depth to the performance. They played fan favorites like “Dizzy on the Comedown,” which had the crowd swaying and singing along word for word. Other standout moments included deeper cuts and newer tracks that kept the set fresh and flowing. The band’s connection with the audience was clear—not just from the stage, but off it as well, with several members spotted before the show chatting and taking photos with fans.

With a solid lineup, a great venue, and a memorable headlining set, this show hit all the right notes—and then some. It was the kind of night that reminds you why live music matters, leaving fans buzzing long after the final note. Shows like this don’t come around often, and Nashville showed up for it. From the crowd to the bands, everyone brought the best energy.

Last week, The Wrecks brought their electrifying Inside : Outside Tour to Heaven at The Masquerade, delivering a high energy performance that left fans buzzing. Coming off the recent release of the first half of a new album, INSIDE :, the band transferred that energy into an unforgettable performance to the Atlanta crowd.

The evening kicked off with Benjamin Carter, whose powerful vocals and charismatic stage presence immediately captivated the audience. Despite it being his first tour, Carter's confidence and connection with the crowd set a promising tone for the night. His rookie status would have gone undetected if he hadn’t said it himself, as he was able to get the crowd participating in hand gestures during one song and singing along to the chorus of his closing song. All of this is to say, Carter’s future in music is bright.

Following him, Quarters of Change took the stage, bringing a moodier alternative rock energy with them. While he may have been less interactive with the crowd, folks in the audience were still engaged, cheering along during guitar breakdowns and between songs. Despite their music seemingly not hitting with a majority of the crowd, folks in the audience could still recognize and appreciate their musical talent.

Finally, The Wrecks emerged, launching into the title track from their sophomore album "Sonder." Frontman Nick Anderson's boundless energy was evident as he leaped across the stage, engaging the crowd with every movement. From heartfelt yearns for connection, like “Normal,” to breakup anthems like “Fvck Somebody” to scream along to, their setlist was a rollercoaster of emotions. One thing’s for certain, though, and that is that everyone in the crowd was off their feet, singing, and having a good time. The Wrecks are known for engaging the audience and having fun with it, and Atlanta’s guest of honor was a fan’s mother who called herself “Two Drink.” Together, Anderson and “Two Drink” began a circle pit during “This Life I Have,” and the Atlanta crowd made sure “Two Drink” got to crowd surf later in the show, causing Anderson to give her a hearty shoutout.

Having been thrown into the spotlight since their very first release in 2017, “Favorite Liar,” which reached the Top 40 Alternative Radio chart, some wondered if the band would be a one hit wonder. But with each new release, The Wrecks have proven that they are a band producing banger after banger, and INSIDE : is no exception. As time goes on, the band continues to refine their live performances, with Anderson’s vocal endurance notably improving over the years. As they continue to release great music and put on great shows, their fan base continues to grow. Just look to the Atlanta crowd as proof–the band has played every stage at The Masquerade, with this tour being their first time playing Heaven, which has the largest audience cap of the entire venue.

Though the Inside : Outside Tour is coming to a close, Anderson hinted that the band would be releasing the second half of the album, and we anticipate another killer tour to follow.

Pierce The Veil electrified the MidFlorida Credit Union Amphitheatre in Tampa, Florida, marking the second stop of their I Can't Hear You World Tour. Selling out the 20,000-cap venue, this show marks the band’s biggest headlining show ever. The evening was a celebration of the band's nearly two-decade journey, featuring a setlist that spanned their entire discography, including tracks from their 2023 album, Jaws of Life. With their longtime friends in Sleeping With Sirens as direct support and the up-and-coming band Daisy Grenade as openers for the first leg of the tour, the night delivered top notch performances spanning emo, post-hardcore, and pop rock.

The evening started early with the dual vocals of Daisy Grenade filling out the amphitheatre. Their energy was infectious, as evidenced by the early concertgoers who couldn't help but jump to their catchy choruses despite the Florida heat. Daisy Grenade, who may be known by some in the crowd for their cover of “King For A Day,” were a perfect choice to open on this tour. Their ability to blend elements of pop, rock, and punk and bring together fans of all genres, highlighted by the cheers for their Sabrina Carpenter cover, proved to be an exciting start to the night.

As the sun went down, Sleeping With Sirens took the stage. Frontman Kellin Quinn's iconic vocals and the band's top notch musicianship and stage presence captivated the crowd, which already seemed packed to the brim. Much like the band following them, their set spanned songs from their entire career. Newer tracks like “Go Go Go,” which Quinn dedicated to Daisy Grenade, and the acoustic rendition of “With Ears To See And Eyes To Hear,” highlighted his clean vocals, while “If You Can’t Hang” and other songs from that era showed that his unclean vocals are still on point. As a band with over a decade and a half under their belt, their set was nothing short of impressive.

To end an already incredible night, Pierce The Veil emerged to a roaring crowd. Just their stage entrance was one to remember–with a backlit banner drop featuring icons representing each of their albums, one might say they have a flair for the dramatic. Their performance was a masterclass in showmanship from all band members who commanded the stage and interacted with each other and the crowd effortlessly. The setlist was a journey through their musical evolution, featuring songs from all five full length albums. A show highlight that every person in the audience felt was experiencing the transition from “May These Noises Startle You in Your Sleep Tonight” into “Hell Above” in a live setting. Given that Sleeping With Sirens is on the tour, the performance of “King For A Day” with Kellin Quinn was highly anticipated, and everyone went absolutely wild for it.

Pierce The Veil have come a long way in the past two decades, and this show was a testament to the empire they’ve built. Pierce The Veil's enduring impact on the scene is evident, and their ability to connect with fans, both old and new, through a diverse setlist and passionate performance solidified their status as icons of the genre. The I Can’t Hear You World Tour continues through June in the United States, picks up again in Europe in September, returns to the United States in October, and ends in Central and South America in December.

As storms brewed overhead, Floridian fans braved the oncoming weather and lined up outside of Daily’s Place for the second night of the I've Tried Everything But Therapy Tour. Despite the foreboding weather, fans of all ages filled the amphitheater, eager to experience the raw emotion and vocal prowess that Teddy Swims is renowned for. Luckily for them, the code blue cleared, and the show was only delayed by fifteen minutes.

The evening began with an electrifying set by Canadian artist Diamond Cafe, whose blend of synth-pop and R&B set the tone for the night. While many of his songs sounded rather similar to each other, his talent is undeniable. With an impressive falsetto and a stage presence that commands attention, Diamond Cafe is certainly a star in the making.

After a quick transition, the stage was set for the long-awaited Teddy Swims. His band, Freak Feely, took their places on the captivating stage setup and began the set with a powerful instrumental. As the strobe lights stopped, a spotlight revealed Teddy Swims, standing tall on an elevated platform, donned in a #69 Jaguars jersey. The efforts of stylist Christian Stroble were temporarily put aside, but it was all worth it for the cheer that erupted from the Jacksonville crowd upon seeing the headliner in his own custom jersey. Opening with “Not Your Man,” “Hammer to the Heart,” and “Apple Juice,” then transitioning into love songs “She Loves the Rain” and “Are You Even Real,” the tone was set for the rest of the night. Whether it’s an empowering song about heartbreak, a gut-wrenching song about substance abuse, or a sweet serenade, you’re going to feel something, and you’re gonna be dancing.

Teddy Swims’ stage presence was both grand and endearing. By sharing personal anecdotes between songs, autographing fans’ merch during songs, and ensuring that each of his band members had their opportunity to shine, his words and actions both exemplified someone who is truly grateful to be where they are in their career. Still, with a full stage build, pyrotechnics, and outfit changes, it’s impossible to forget that this is the show of a Grammy-nominated artist. His ability to create such a personal atmosphere in an amphitheatre venue, while still putting on a show worth the sold out 5,000+ audience cap, is a rare talent from big name artists, yet he did it effortlessly.

Needless to say, the North American run of the I’ve Tried Everything But Therapy Tour is off to a fantastic start. The tour continues up North through May, ending in Canada, then picks up again in July and runs through September hitting Midwest, Southwest, and West Coast United States. Be sure to grab tickets in advance, as this tour is selling out in multiple cities.

There comes a time(s), where the opportunity to experience a lifelong passion presents itself, and damn am I glad I took this opportunity. This past Saturday I had the immense honor of photographing beloved rock legends, Linkin Park. The incomparable rock sextet led by Mike Shinoda and new vocalist Emily Armstrong, tore the [damn near sold-out] house down, ripping through smash hits and fan favorites from every era of their catalog throughout the [roughly] 2-hour set. On this early leg of their month’s long world tour, they’re supported by rising maverick, Grandson.

This being just my second show covering at my home arena, I can’t say I walked through the doors without a healthy amount of nerves; then again, I don’t think I’ve ever been able to say that. That’s because I care, I care so very much about art, in every facet; I feel it so deeply. This very feeling is what immediately pulled me into Grandson’s vision. As the lifelong Linkin Park fan turned peer rocked the stage, commanding the hearts of the crowd with the microphone in his hand, I stood gratefully in awe. As his approached its end, it was Grandson’s closing message that stuck with me long after the show ended, “Keep making art, keep trying to make a difference and continue to light up this dark world”. That’s a true rallying call if I ever heard one.

No matter how many times I step between the stage and the crowd, the fact persists; there’s truly nothing that can prepare you for that one-of-a-kind adrenaline rush. When that first strike of a chord and crash of the cymbals explodes right in front of you, it’s the kind of magic that makes you believe in something, earth shattering. I say all this to preface, Linkin Park shattered me, and it was absolutely magical. Speaking of magical, while I’m not the kind of guy to doubt the talents of others, something about screaming 13 seconds straight just seems like it should be outside the realm of human possibility; yet we have Emily Armstrong, roaring on mics like an axe-wielding blonde banshee sent from the heavens to bring life back to a band we all love so much. Each song hit harder than any live recording ever has, from “Crawl” to “What I’ve Done”, to “The Emptiness Machine” every hit slapped.

My favorite moments of the night were: the [aforementioned] performance of “Heavy is the Crown” during the encore, hearing Mike Shinoda talking to fans from the pit about visiting their Animal Crossing islands, and seeing DJ/ musical director/ cameraman, Joe Hahn, walking around the stage with a rolling camera, recording his own bandmates in real time; who needs a videographer anyways? This would usually be the part where I list the nights setlist, but you know songs, and odds are if you’re reading this, you’ve looked up the setlist more than once yourself. Instead, I’ll stop talking and leave you to experience the night through the photographs below. Until next time.

Gallery Below!