Out of everyone on the talented KRUI Online Content team, I am probably the last person who should be reviewing experimental jazz. I’m the stand-up comedy reviewer—it’s what I know best—and in terms of how it works as art, stand-up is probably the opposite of jazz. Stand-up routines are meant to be done in pretty much the same way every time, tweaked and tightened in small ways until the set runs like a freshly-oiled machine. It’s also an art form meant for the largest possible audience, as comics will often take the same set to different cities, states, even countries.

After listening to a lot of jazz over the past week, culminating in an amazing performance by renowned trumpeter Ambrose Akinmusire and the PUBLIQuartet last Friday at the Stop/Time Festival presented by Hancher Auditorium, I’ve come to the conclusion that most jazz isn’t meant for an audience at all. Instead, it serves as a forum for the performers to express themselves abstractly, turning pain and love into a confused, revelatory experience for audience members to hear, but never really understand. 

For Akinmusire’s performance, we sat on the Hancher stage in a small row of bleachers; I was less than five feet away from the nearest performer. The stage was bathed in a display of shifting, zebra-patterned lighting, which changed to a singular spotlight as poet and UI English professor Donika Kelly opened to the floor for a reading of her poems.

Kelly’s poetry was excellent, as expected, but what really struck me about this opening performance was the rhythmic, almost percussive quality of her delivery. Her first poem, “Its gone be what it is,” hops back and forth through familiar phrases like a record skipping. Kelly even incorporated snapping into her performance to punctuate certain moments—which, I later discovered, is written into the text. The poems were a beautiful way to ease into the performance that followed. Poems have more structure than jazz, but they still encapsulate that same spirit: art as a playground for the artist, rather than a product for the audience. 

After Kelly had walked off, Akinmusire and the PUBLIQuartet joined us on stage, along with several accompanying artists. Akinmusire and his band seemed totally in sync as soon as they entered, and would often laugh with each other in quiet, stolen moments during the show. It felt a bit like I was intruding on a secret conversation they were having through their instruments.

A highlight: drummer Elijah Revell, the heart of the performance, giving it rhythm with a steady beat and creative embellishments. Roughly halfway through, just as the concert was beginning to drag, Revell snapped the audience back to attention with a drum solo I can only describe as “sick.” When he stopped, Akinmusire could tell we liked it so much that he nudged him to keep going.

In fact, Akinmusire seemed to be radiating with pride the whole night. He smiled, laughed, and stared deeply at his fellow performers like he was coming to life. As pianist Sam Harris poured himself out onto the keys, Akinmusire would peer at him through the gap in the piano lid and nod to the rhythm, as if acting as an extension of the audience. When improvisational vocalist KOKAYI stepped to the mic to deliver fast and powerful rhymes, Akinmusire reacted to each new bar with a gentle contentment, full confidence in KOKAYI’s masterful wordplay and control of the beat. Players would often look to him as a guide to the song, making him the quiet leader of the show, but never in a way that overpowered or overshadowed anyone else. Even though he got top billing that night, I never got the impression that he thought of himself as the lead performer. He was just a fragment of the greater story.

The PUBLIQuartet gave the performance a raw, unfiltered feel. They did things to their instruments I had no idea strings could do until that day: sharp plucking, creaking, shrieking, and groaning. Usually cellos, violins, and violas automatically make a piece feel more classical to me; in this show, they actually made the music feel less refined, unrestrained in a way that complemented the rest of the music. In contrast, artist chiquitamagic lent the night a slightly psychedelic quality with their synthesizer and haunting backing vocals. The two styles may have clashed at times, but overall, the layering felt intentional, and added a new dimension to the sound.

But I know that I can only guess at what the meaning of the music actually was. KOKAYI’s vocals touched on anxiety and betrayal, and Akinmusire said before the final song that this performance felt like reaching the other side of impending doom. But watching these artists perform felt almost joyous, slightly muted, like watching a house party from outside the house. Akinmusire’s trumpet playing never formed a cohesive song; rather, he gave us short bursts of emotion that we could not decipher. Only he and the other performers know what he meant by his instrument’s passionate wails and moans. It was an experience only understandable by its creators.

The concert was not for me, but for them.

The post A Conversation Between Artists: Ambrose Akinmusire and PUBLIQuartet, Friday of Stop/Time Festival appeared first on KRUI Radio.

We all regret things, even some things we didn’t do ourselves. I spoke with Canadian indie-rockers Peach Pit ahead of their set at Innings Festival on February 20th as they shared stories of favorite gigs they’ve seen, video games they’ve been enjoying, and card games that have gone wrong.

Logan Melia: Okay, rock and roll. So guys, how are we doing? I mean, first gig in a little bit, right? 

Neil Smith: Yeah, we were just talking about that today. It’s our first one in a couple months, so we’re a little nervous. 

Peter Wilton: Bit rusty 

Logan: Really, bit rusty?

Neil: Well, we rehearsed, but yeah. 

Logan: What does the rehearsal process look like? Are you guys just getting together once, multiple points? 

Neil: Oh, dude, we only can do it once. Honestly, we like playing our songs in our rehearsal room by ourselves is like torture. Yeah, I hate it so much. It gives me like the feeling of like when you’re in high school and you have to do like a project or like or homework and you don’t want to do it. 

MIkey Pascuzzi: When you do it the night before it’s due. 

Neil: Yeah, yeah, exactly. So we run the set. We run the set. 

Chris Vanderkooy: Yeah, we’ll argue for the first half about what the set should be. Yeah, then go for lunch and then run the set twice. 

Peter: But yeah, any part of those, the set always ends up being pretty similar. 

Neil: Yeah, yeah. Some songs like have to kind of be later in the set. You can’t like blow your load super early with popular ones right away. 

Logan: What’s the setlist looking like? Are we doing a lot of stuff off Magpie? 

Neil: No, we’re doing two songs off Magpie. 

Chris: Two songs off from two to three. 

Neil: Yeah, we mostly have to always do most songs off of Being So Normal, our first one, just because it’s the most popular one. 

Chris: That’s what we tell ourselves. 

Neil: No, it is true, though. 

Chris: But those songs also have the most energy, I think. A lot of the time, compared to the new ones, we love those recordings on the new albums. Yeah, the old stuff, it just goes over well live to people who have never heard of these before, too. So if we’re trying to draw new people in, that’s the good stuff to do. 

Logan: I saw you guys in May of last year in Chicago.

Neil: That was so fun. It’s a cool spot.

Logan: It’s such a beautiful venue right on the lake right there. You guys open with that little combo with Warpigs there. How’d that come to be? Because when I think about you guys, with all do respect, I don’t think about Black Sabbath. 

Neil: I think it was yours or Dougle’s or yeah, we basically for the past, for the past like 7 years, we’ve been opening our show with a bit of a cover. So we’ve done, we did a Led Zeppelin song. We did Slayer. Slayer. 

Chris: Yeah, and the Slayer was really fun because we had just kind of put out our most folky album and people were coming out to the shows and it was just like post-pandemic. And then we would just drop into Slayer and we could see the visible confusion on the crowd’s faces. And so ever since then, we were like, this is so much fun to come out like this and do something a little unexpected. So yeah, it’s something we’re kind of always striving to do and look for another cover. 

Logan: Is there anything unexpected coming today that I should prepare myself for? 

Neil: Uhhh… no.

Chris: No, we wrote a little instrumental to start off our first. 

Neil: Oh, that’s true, yeah, for sure. We’re going to open with the Arc Raiders theme song. 

Logan: That’s really sick. 

Neil: Yeah, we just walk out to it.

Logan: Are you guys Indiana Jones fans?

Peter: Oh, no. Oh, OK. Sorry. It’s confusing. There’s a new video game out, kind of like Fortnite kind of style vibe. It’s called Arc Raiders, which sounds like Raiders of the Lost Ark. 

Logan: That’s where my mind is. 

Peter: But I actually have a huge hit. 

Mikey: Yeah, I love it. 

Peter: That was my favorite movies as a kid ever. 

Chris: Actually, The Kingdom of the Crystal Skull. 

Peter: Oh, yeah. We should open with John Williams. 

Logan: Fortnite… You guys play any video games recently? You guys hopping on anything? 

Neil: I guess Fortnite a little bit. 

Chris: We were in Fortnite for a while. 

Neil: Mikey’s been playing, what have you been playing?

Mikey: Ghost of Tsushima and Ghost of Yotei. It’s like the samurai game. 

Neil: They’re a big God of War guys. 

Mikey: Oh yeah, the God of War. I played that a couple years ago. 

Neil: I flew down here with my PlayStation actually. Yeah, I put it in my carry-on bags. More than half of your bag. Yeah, half of it is closed and the other half of the suitcase is my PlayStation. So I can play Arc Raiders. 

Logan: Did you guys see the Simpsons season of Fortnite? 

Neil: Actually, I did. That was pretty awesome. 

Peter: We hoped on together. 

Neil: Did you guys get the Homer? 

Peter: Yeah, you kind of had to, right? 

Chris: No, I never figured out how to do the scans. 

Neil: You just put your credit card in and then you get it. 

Chris: One time when we were really into Fortnite, Neil like bought me a skin on Fortnite for my birthday, but I just logged on. I didn’t realize someone had sent me anything. I was just like, ‘they just gave me a free skin I’m the Mandalorian now’ And I like texted him being excited and he was like, that was neat. 

Logan: But you know, it’s a little gestures like that. 

Chris: Oh yeah, totally. 

Neil: It’s a great gift actually, a skin. 

Chris: A Fortnite skin? 

Neil: You wouldn’t buy it for yourself. 

Chris: No, yeah, exactly. 

Logan: Neil, I saw in an interview, you said that you are kind of a jokester guy at all. You write the quote I had written down, “I come up with the jokes for the show”. 

Neil: Oh, yeah, for that onstage show. Offstage show tho…

Chris: Mikey comes up with them. 

Logan: Now, I know you guys are Canadian. Norm Macdonald. Do you have any favorite Norm moments, any jokes? 

Chris: We can’t say them on air. 

Neil: Norm is like, he’s just like my favorite person maybe ever. Like I’ve seen, there’s like no Norm MacDonald clip on the internet that I haven’t seen. I mean, just like, I don’t know. Everything is good. Like his interview shows are good. His jokes are amazing. I love the, I want to quote, I’m trying to think. 

Mikey: The Larry King bit where he’s like ‘I’m a deeply closet homosexual’. 

Neil: So what you’re saying is your gay? 

Chris: Do you know what a deeply closeted man is? A man who won’t admit he is gay. Yeah, I’m deeply closeted. 

Neil: I mean, he’s just, I mean, Norm, dude. I wish I could have seen him live. He’s the best. He’s the best of all time, for sure. 

Logan: Are there any acts either comedic or bands that you are lucky you saw live? Like, did you see like Tom Petty a year before he passed? 

Chris: Yeah, I was at Red Rocks visiting my uncle and I went and checked out the venue and I was like, oh, this is beautiful. Well, I wonder if anyone’s playing tonight. Tom Petty was playing with the Heartbreakers and it’s like, oh, sweet. Oh, there’s still tickets left. Uh, 80 bucks. I’ll see him another time. He died like six months later. 

Neil: This was also for context, you were like 20. Yeah. And so 80 bucks was like, I can’t afford that. 

Logan: I’m 20 right now. 

Neil: I don’t have a job. Yeah.

Chris: There was 80 bucks in 2014. 

Logan: Canadian or USD? 

Neil: USD so even worse.

Chris: Yeah, it was rough. But yeah, I mean, Neil got to see Paul McCartney in November. Oh, yeah, it was a bucket list one. 

Logan: I was like, yeah, I should have said hi. 

Neil: Were you there? Yeah. Oh, really? Yeah. Last day of the tour. 

Logan: No, it was the day before. 

Neil: I mean, whatever. Yeah, we flew in with our wives and went and saw him. We’ve been like, yeah, we were like, we have to see him? 

Chris: Yeah, he was great. 

Neil: Yeah. He was so good, right? 

Logan: Oh, my God. He’s how is he not good? He’s so old. And for him to, like, dance a little bit. 

Chris: Every time he walked up to the piano, I was like, he’s going to slip and fall. 

Neil: He’s didn’t take a sip of water. He didn’t take a drink. He played for three hours. 

Logan: It’s like no shade to Bob Dylan. Great artists, but I’m not sure if you guys have seen those live videos. He just kind of sits there behind a piano.

Neil: Yeah, those guys are weird because I don’t get it because they’re so loaded, they don’t have to do it with the money, but they still go on tour. And to be honest, if we have enough money to not go on tour, we’re 80, I’m not going to be going on tour with you guys. 

Chris: You’re going to miss us more than you think. 

Neil: No. 

Logan: Just with United Center, Springsteen just announcing new tour. Are you guys Springsteen fans at all? 

Neil: Yeah, sort of. I saw him a couple years ago. 

Chris: I love his album Nebraska more than anything else. 

Neil: I went and saw him. You’re a big fan. Yeah. Okay. I don’t want to shit on Springsteen though. I got free tickets to go see Springsteen and it was pretty good. It was like 3 hours long. He plays everything. But it’s just like the Springsteen arc of the show is like… They go to 11 and then they just like stay at 11 the whole entire time. Like every song is 1, 2, 3, 4, and then you’re like, oh my god. I’m not a huge Springsteen fan. It was, it was cool. I did learn some deep cuts that I listen to now. 

Logan: Hell yeah. What is on the playlist these days for you guys? Anything fun? Anything unexpected? 

Neil: Geese, dude. Nobody listens to that, man. Actually though, there’s like two Geese songs. They’re like my favorite song ever right now. 

Chris: Yeah, Jessica Pratt. I’ve been listening to a lot of her. She’s great, she kind of sounds like she should be playing for a great haul in Beowulf times. You know what I mean? She just sounds like an ancient singer-songwriter. 

Neil: What are you guys listening to? I haven’t been listening to that much music, to be honest. 

Mikey: I just throw on playlists and whatever’s on there. 

Neil: I guess I got some records recently. What did I buy? I bought so many albums at Toomes Records Store. Pat Kelly. He’s a reggae singer from Jamaica. That’s it. 

Chris: It was cool. There’s this band, The Districts, that we really love. 

Logan: Philadelphia, right? 

Chris: Philadelphia. So their lead singer started his own solo project called Super Infinity. And he kind of just dumped. A ton of songs out without making a big deal out of the release, and I think for that reason, I didn’t hear about it for a while, but now I’ve gone back and listened to this record it’s like 20 songs, some of my favorite songwriting ever, their production is amazing, his voice is incredible, so really good, really recommend, especially if you like The Districts. 

Logan: Yeah, it’s more research. Your album, I think it was From Two to Three, was originally named Fuckboy Blues. Can I get a confirm or deny on this?

Peter: That was You and Your Friend. You and Your Friend, which we wanted to call the album Fuckboy Blues. 

Neil: And then we have a song called Feeling Low in brackets, Fuckboy Blues. Okay, so basically what happened was it was our first album after being so normal. We wrote a song called Fuckboy Blues. We got on Columbia. And they basically just recommended that we don’t have a song with the word “fuck” in it because they wanted it to be the first single. They were like, yeah, this is going to be on the radio. And then it just, I don’t know. The song didn’t really go anywhere.

Chris: Yeah, it could have been huge. 

Chris: But yeah, yeah, we were going to call it “Fuckboy Blues” because Neil has “fuckboy” tattooed on his ass. 

Neil: Not by choice. Yeah, it’s true. I went to Asia, this was back when I was like 20, I went backpacking in Southeast Asia. Me and my friend were playing this card game called cribbage the whole time that we were away. And in crib, if you lose really bad by a certain amount of points, you get skunked. So we were playing like a game of skate with crib, where like every time you got skunked, you’d like write a letter. Anyway, long story short, I lost the bet. And the bet was that you had to get a tattoo on your ass that said skunk, which is kind of stupid, but whatever, we were young. And I came home and we were at band practice, and this was way back in the day. This is even before Mikey was in our band, we had a different guy named Tom. The guys were like, you’re getting your fucking tattoo tonight. Peter, he was doing a little stick and pokes at the time, he’s like, ‘we’re going to do the tattoo tonight. We’ll go to that party. You’re going to do it tonight’. And I was like, oh, shit okay, whatever. So then we go to the party and like, I lay down on the floor I yanked out my pants Peter gets all the needle ready and we have a bunch of friends there my sisters there and he’s like okay Neil like whatever you do like just like don’t, I don’t want you to look at it until it’s done and I didn’t I swear to God I didn’t even bat an eyelash at that because Peter’s like a really really you know Peter he’s a really really nice guy he’s not like a piece of shit.

Logan: Do you agree?

Neil: I would say you’re not a piece of shit.

Peter: I don’t think so.

Neil: So he’s doing the tattoo. I’m like, taking a little while or whatever, and at one point I was even like, damn this is taking a while. And then right, he’s like, I’m just about done. And right when he finished, everybody in the room burst out laughing. And I was like, ‘NOOOO’. And I ran into the bathroom and they, yeah, he touched me. 

Chris: He was, Neil was like livid. 

Neil: I was so angry. 

Chis: It was not good actually. 

Peter: No one ever like, here’s the thing. I wasn’t initially like, this isn’t a great idea. Everyone else was like, it’ll be funny. I think it was my idea. His sister was like, he’ll think it’s funny. And I was like, I didn’t know him that well at the time. So he did it and then Neil was so mad and I started crying.

Chris: And I, in the moment was like, you know what, we shouldn’t have done this, it was very fucked up but this will be funny later. 

Neil: Yeah, it aged well

Logan: How many years ago was this?

Neil: 11 years ago. A long time ago

Chris: Yeah, we were very young ago. 

Neil: So anyway, I’m going to cover it up eventually. I still have ‘fuckboy’. I go to the local community center to go use the sauna a lot. And whenever I’m getting changed, I’m facing the lockers of people. They don’t see your junk, and I can just see someone looking at my ass. 

Chris: Yeah, totally. That was a really evil thing to do, but I think made us stronger. 

The greatest joy in life is learning isn’t it? We are all students of life. I think I learned a lot during these 13 minutes. For example, we learned that Neil Smith, lead singer of 2021 JUNO nominee for Breakthrough Group of the Year Peach Pit, has ‘fuckboy’ tattooed on his butt. Learning!

The Canadian quartet continues to be a constant in my ears with their latest release “Magpie: Expanded Edition“, and the rest of their charming discography. Their set at Innings Festival featured a dozen tracks spanning their decade making music and opened with that beautiful instrumental jam as promised. Peach Pit has only a select handful of festival dates on the calendar, including the recent announcement of Shaky Knees. If you can, catch this band. Their live shows are filled with ear worms and high energy. If you walk in not knowing any songs, you’ll walk out wanting to know. For future updates, can follow Peach Pit here.

The post Interview: Peach Pit on Tattoos, The Simpsons in Fortnite, and Norm MacDonald appeared first on KRUI Radio.

FRIDAY 

I caught Fat, Evil Children as the foremost band of this festival, playing the Right Field Stage at 12:15. I had done some research beforehand and really enjoyed their sound so this was a must see. Coming out of the LA, they have begun branching out of state with their latest release “Can’t Stop” on November 28^th, 2025. This six song EP holds a favorite of mine, “The Weight” which was released as a single a few weeks before the EP. Following up on the Right Field stage was Congress, The Band. Out of South Carolina, this was the farthest out west the 5 piece indie rock group had been. Named after Congress St in Charleston, and not the house of government, they will be hitting the road this March with fellow Innings Festival band Common People. You can find tickets here. 

While exploring the festival grounds I heard an all too familiar sound. Like a siren calling me to the sea, I heard the second track to Bruce Springsteen’s third album “Born to Run”. Springsteen is a magnet of sorts for me, and with nothing to break the attraction, I ended up at The Left Field Stage watching Jake Peavy jam out with his band to “Tenth Avenue Freeze-Out”. Peavy was playing for my Chicago White Sox during a very formative time in my life. Watching the All-Star game in 2012, I never imagined I would hear him play “Franklin’s Tower” or The Boss. This is part of what makes Innings Festival so special, this was the only place you could find a childhood hero rocking out.  

Staying at Right Field for the time being, Peach Pit was up next. I had the opportunity to talk with the band before their set and discuss all things from The Simpsons in Fortnite to Norm MacDonald. That interview will be up soon on 89.7 KRUI. After a great interview, they came on stage with an instrumental jam into their self-titled song. Released in 2018 on the Sweet FA EP, “Peach Pit” is a tune that has been a staple in my playlists for years. It is Peach Pit at their best, with sincere lyrics that don’t beat you over the head with their feelings but decide to open the door and let you in if you choose. A dozen songs later, Peach Pit closed with fan favorite “Tommy’s Party”, painting the picture of a friendship that’s lost its flame in light of time and others taking priority. A mourning of something lost disguised as a slow jam where guitarist Chris Vanderkooy skates across the G Major Scale. A sound ending to one of my favorite sets of the weekend. Afterwards lead singer Neil Smith joined the crowd for pictures and high fives. Peach Pit has a handful of festival slots coming up this year. 

A album release party to remember, Mumford and Sons took the stage at 9:00pm on the night of their sixth studio album drop “Prizefighter”. Playing five tracks off the record, Marcus Mumford sprinted through seventeen songs spanning the band’s illustrious career. With his army of musicians behind him, the emphasis on the new record was warmly welcomed as this blues and rock inspired LP was made to be played for these huge crowds like this. Their 2025 record “RUSHMERE” wasn’t forgotten either as the two tracks were heard amongst the shuffle of their set. Marcus paid a compliment to the previous band on The Home Plate Stage, The Goo Goo Dolls, preaching “You get The Goo Goo Dolls night one and you’re fucked the rest of the weekend”. I concur Marcus, it’s difficult to follow up “Iris”. Mumford and Sons have just announced their “Prizefighter World Tour” including a stop at Hinterland in Iowa on August 1^st.  

SATURDAY 

I was elated to have finally caught The Backfires. The combination of New York indie and Britpop is featured heavy in this groups work, including 2022’s single “Blindsided”. The Backfires were quick to make fans as the dancing began almost immediately as they stepped on stage. They only have one more gig on the books so far in New York as they record a new album. You can follow their process on their Instagram.  

Right Field continued to be a place I found myself as Deer Tick was setting up. Something familiar hit my ears as the guys began playing “Bad to the Bone” as their soundcheck. I asked Deer Tick about their long and storied history with covers, including a handful of songs by mutual favorites The Pogues. You can hear all about it in my interview with Deer Tick that will be on 89.7 KRUI soon. Their set included a new song, “Mary Singletary”, from their upcoming record that will be released in June. During their set I had a thought, maybe it was that baseball was already involved, but their songs hold a very classic summer sound that feels reminiscent of CCR, The Eagles, and Dylan. Deer Tick have a handful of gigs in March around their home in the Northeast and just announced they will be playing returning to the midwest to play Summerfest in Milwaukee on Friday, June 19^th. 

At the left field stage, former pitcher and current entertainer, Ryan Dempster, continued his wonderful “Off The Mound” talk show. With a live band and a great selection of guests, Dempster is a natural at playing host to current and former baseball personalities. He entered the stage and did a quick monologue, joking how the Dodgers were so injury prone last year, one of their pitchers had to hit. I caught a lot of strays as a White Sox fan while at The Left Field Stage, on stage and off. Dempster, a long-time north sider, did not shy away from his bias to Wrigley. An olive branch was extended as one of his guests played for both sides of town. Jeff Samardzija spent six and a half season with the Cubs, and just a lonely singular year with the White Sox, was eager to talk both sports and music. Growing up a Sox fan, it was a dream to dawn the black and white pinstripes in 2015 even though baseball was not his original path. Samardzija was a two time All-American tight end and caught over 2,500 yards in three seasons for the Notre Dame Fighting Irish. Sharing stories of being a two-sport athlete and how youth sports have changed was interesting coming from a former professional athlete and current parents. He then spoke about meeting his wife at a Pink Floyd concert, as she was an employee to Roger Waters. After some light stalking and a few emails, Samardzija secured a date and the rest is history. It felt like watching a conversation with two old friends as Dempster created a relaxed environment and Samardzija putting his feet up. This was all wrapped together with a bow on top as the house band sounded spectacular as well.

I often hear from my seniors that there are no rock stars anymore. The spark has left the industry, guitar music is dead, and everything is made with computers now. Although computers may be scary to some, the rest could not be farther from the truth. Whenever you are in doubt, go see Cage the Elephant play a gig. Frontman Matt Schultz is a larger-than-life performer, flipping the lid off any containment he might have had. Alongside his brother Brad Schultz, drummer Jarod Champion, bassist Daniel Tichenor, and a batch of the strongest live musicians out there, Cage the Elephant was emphatic in their 19 song set. Matt Schultz mentioned that he may forget a few of the words during their performance, as they are in the process of making a new record. Their latest venture came in the form of 2024’s Neon Pill which they have toured extensively. With a new record on the way, there is a scarcity of gigs lined up for the Bowling Green natives. You can find any updates from the band here. 

Los Angeles local Lord Huron played a dreamy set as the blue lighting put him in this twilight-Esque setting, delivering a story time that a listener dreams of. Under the stars of the West, Ben Schneider put out a mix of new and old, with three songs off 2025’s “The Cosmic Selector: Vol 1” and four songs from a decades prior album “Strange Trails”. Lord Huron will embark on a lengthy tour this summer, including a stop in Waukee on July 19th. 

Twenty-One Pilots delivered a set full of new surprises at Innings Festival. Three live debuts and two covers is what Tempe was treated too, a shocker to any long time Twenty-One Pilot’s fans. Covers have eluded many fans for years, so hearing Milky Chance’s hit “Stolen Dance” intwined with the live debut of “One Way” was a shock to many. Near the end of the set, the stage went black and a static appeared on screen. Through the tech mist, rock and roll hero Jack White appeared on screen, adorned in red, black and white, to say “I’m Jack White and I give Tyler and Josh permission to do this song”. The static dissipated, and the stage became cloaked in red as the iconic “Seven Nation Army” riff began. This arrangement of The White Stripes classic was first introduced in Cleveland at The Rock and Roll Hall of Fame Induction Ceremony. The third live appearance of this song was well worth the wait. This was a landmark set for the band, introducing “Center Mass” and “Drag Path” to a live audience, and preparing for a busy summer in Europe.  

SUNDAY 

Bowling For Soup took main stage on the final day of Innings Festival at 2:30. People were tired and the sun was beating down on the weekend snow birds, but the Texas natives brought the energy with their collection of hits and theme songs. This set included a cover of Stacy’s Mom by Fountain’s of Wayne, often mistaken as a Bowling For Soup song, this was originally by the New York rockers. Jaret Reddick and company played everything I wanted to hear as they begin another busy year in Australia, UK, and supporting Simple Plan once again this summer. I spoke with Reddick about their tour and future of the band, which you can find here. 

Right after Bowling For Soup, another trio was on fire, this time at the Right Field Stage. With an hour to play with, Eve 6 jumped throughout their famed discography. Rising to prominence in 1998 with their self-titled debut record, there was heavy representation from that outing with five songs played including “Inside Out”. Time traveling 26 years later, Eve 6 also played the song “Dream Fist” which shares the same name as the record it is on. Throughout the lively story of their career, they have continued to hold their own and produce catchy tunes. Eve 6 has three dates on the books so far for 2026, you can find tickets here. 

An unknown walking into this weekend was Switchfoot. These surfer dudes won me over with their swoopy hair and sprightly tunes. This is what festivals are all about, finding a new band and becoming a fan. The song that hooked me “Dark Horses“, and that was partially due to a touch of Led Zeppelin’s “Kashmir” being tossed in. The San Diego natives didn’t shy away from a cover as the very next tune was The Beastie Boys “Sabatoge” blaring from bassist Tim Foreman, brother of frontman Jon Foreman. Switchfoot will hit the road this summer, with Fuel and Lit joining for select dates.

The Right Field Stage was closing out with a bang. The combination of Big Boi and Public Enemy was tantalizing to the point of believing either could have been the headliner for that day. Big Boi, who is one half of Outkast, did not shy away from his past with 10 of his 17 songs being callbacks to his days with André 3000. Although omitting their biggest hit, “Hey Ya!”, the classics like “B.O.B.” and “Ms. Jackson” got the crowd moving. Big Boi will be supporting Kid Cudi this summer on his “Rebel Rangers Tour“.

One of the most iconic rap duos of all time, Chuck D. and Flavor Flav did not fail as my anticipation for this performance was far from small. I had missed Public Enemy in 2024 at Riot Fest, and it began to haunt me as in my Music and Social Change class, we watched a documentary starring Chuck D. Not only was the salt already in the wound as “Copyright Criminals” was assigned viewing, but to hear that the professor assigning it was the executive producer hurt even more. My professor, Kembrew McLeod, helped make this documentary out of nothing, embarking on a journey highlighting the often unfair world of sampling in hip-hop. Chuck D was prominent and even played a slot on The Tonight Show with Jimmy Fallon in celebration of the documentary. All of this to say, Public Enemy’s bar was raised very high. The lights grew dim and then exploded as two men in matching tracksuits walked out, one with a boombox in hand. Not far behind them were tow para-military dressed men, dawned in a yellow and gray camo. The venerable Flavor Flav then appeared in a sparkly white tracksuit before introducing the crowd to “my partner in crime, my partner in rhyme, my partner in time, Chuck D”. This set did not stop, unless Public Enemy wanted to make their political standings clear, which they were not shy about. Chuck D attempted to play it a little more subtle with his distaste for the current administration while his other half spoke with more blunt remarks. The duo was not timorous or apprehensive, continuing to take shots at the Presidents involvement in the Epstein Files or his decision to remove a bust of Dr. Martin Luther King Jr. out of the Oval Office. This was “a major disrespect” said Flavor Flav to the Arizona audience as he reminded them that The Grand Canyon State was the first to recognize Dr. Martin Luther King Jr’s birthday as a federal holiday. These statements did not come as a surprise to someone who has listened to Public Enemy’s songs, read any interviews and lyrics, or read the name of their group. Overall, an absolutely electric performance from the hip-hop veterans as I look forward to seeing them again sooner rather than later. The duo will be opening up for Guns N’ Roses for select dates on their North American Tour this summer.

To end the festival at Home Plate was Sublime and blink-182. February 22nd is a special day for Sublime, as it is Bradley Nowell’s birthday. The founding member of Sublime, and father to current singer Jakob, was just 28 at the time of his passing, with Jakob only 11 months old. As time continued to move, Jakob joined Sublime in 2023 to take over where his father left off. At Innings Festival, surrounded by two humungous inflatable “Lou Dog’s”, Jakob made sure his fathers legacy was not forgotten. A bombastic set celebrating the all too brief discography of the Long Beach band was a joy to hear in the warmth of the southwest. The set included a cover of “Scarlet Begonais” by The Grateful Dead, a cover that was originated by Bradley back in 1992. Sublime’s set felt like a celebration, and I was happy to be there for it. Sublime will be touring across Australia, Europe, and North America this year continuing the party. You can find tickets here.

This Must Be The Place was at Innings Festival, handing out free doses of Naloxone at their stand and around the festival. An incredibly important collaboration to supply people with the tools to avoid overdoses. They have given away hundreds of thousands of doses throughout their time at festivals, and it was really cool to see Innings Festival embrace and uplift this organization.

blink-182 closed down the festival with their self proclaimed “only gig of the year” for which they “only practiced twice for”. The ladder comment was amended to “one and a half times because Tom (DeLonge) wanted to beat traffic” said bassist Mark Hoppus. The San Diego pop punk pillars breezed through their 19 song set that included two plays of Travis Barker’s only lead vocal appearance “FUCK FACE”. An abrasive name, yes. An abrasive song, also yes. Quick and to the point, like much of blink-182’s discography. This set was a greatest hits collection that featured four tunes a piece from “Enema of the State”, “Untitled”, “Take Off Your Pants and Jacket”, and their most recent outing “ONE MORE TIME”. The rest of the set was made of a scattering of tracks from other records like “California’s” “Bored to Death” and blink’s first hit “Damnit”. A personal highlight of a blink show is hearing what Mark will sing during the bridge of the “Dude Ranch” single, and we got a new one with “Take Me Out to the Ballgame” sung. I have heard “No Scrubs” by TLC, “Pink Pony Club” by Chappell Roan and a variety of others but this bridge was on theme. blink will go into hibernation for the time being as we await what is next for The Mark, Tom, and Travis Show.

Bands don’t shy away from the baseball theming, really embracing the uniqueness of this festival. Congress, The Band sporting matching customized baseball jerseys, and even last year The Killers opened their headlining set with “Centerfield” by John Fogerty. The wide selection of artists, and the distinctive feeling the wraps around Tempe Beach Park make it a yearly pilgrimage for many. Innings Festival is not only a kick off to Spring Training, but festival season, as the gears begin to spin for 2026. I for one, am very excited for whats to come. Extra Innings Festival will be held in the same location this coming weekend as it focuses on country music. This is just the beginning. Stay tuned to KRUI for my interviews with Peach Pit, Deer Tick, and Eve 6 and tune into Downey’s Hour Monday Nights 9:00-11:00PM for your latest festival news!

All photos courtesy of Innings Festival.

The post Innings Festival Recap appeared first on KRUI Radio.

FRIDAY 

HOME PLATE 

Tyler Ballgame 12:50-1:35

Newcomer Tyler Ballgame is right at home at Innings Festival, marking the start of a very busy spring ahead. Opening for St. Paul and the Broken Bones, The Head and the Heart, and a run of headlining gigs in Europe, there is no slowing down after the release of his debut record “For the First Time, Again”. He recently performed the title track live on CBS News Live Sessions. His influences are worn on his sleeve, hearing drops of Elvis and John Lennon throughout the record. 

Marcy Playground 2:30-3:15

In 1994, the figurehead for the grunge movement died and alt radio doesn’t skip a bit diving into the Green Day and The Offspring infused punk scene. But in the few days where people didn’t know what to play, Marcy Playground developed an infusion of post-grunge, and a touch of psychedelic at times that became a staple in the rotating cd readers as people drove.  

Goo Goo Dolls 6:35-7:50

Everyone loves “Iris”. Who doesn’t? But there is so much more to not only the record “Dizzy Up The Girl”, but the rest of the bands discography. Prioritizing analog recording styles and what began their careers, the band released “Chaos In Bloom” in 2023 and the EP “Summer Anthem” in 2025. Continuing their partnership with last summers touring buddies, Dashboard Confessionals, they will both hit this festival. The Goo Goo Dolls will tour Canada briefly in March. 

Mumford and Sons 9:00-10:30

Marcus Mumford, Ted Dwayne, and Ben Lovett have been a powerhouse the past year. In 2025, the trio that is known as Mumford and Sons has released their first record since 2018, “RUSHMERE” on March 28th, played 102 shows across the world, and recorded a new album “Prizefighter”, to release on the night they headline Innings Festival, February 20^th. The return of their classic vibrant folk rock on “RUSHMERE” has led way to a more grounded and calm track listing on the first three of “Prizefighter”. This new record has attracted the likes of Hozier, Chris Stapleton, Gracie Abrams, and more. Mumford and Sons will continue their domination in 2026, including a return to Iowa at Hinterland. With a mixture of never before heard songs and the hits that led them into stardom, it is a can’t miss set. 

RIGHT FIELD 

Congress The Band 1:40-2:25

Hailing from Charleston, South Carolina, this group of five is the youngest band at Innings Fest. A jumble of fun, the indie rock belted by lead singer William Bennet is a joy to hear. While not many songs are available to listen right now, their brief collection holds hooks that latch on, including a great cover of Amy Whinehouse’s “Valerie“. Congress The Band is an exciting group that will be a great start to the festival.

Peach Pit 5:30-6:30

As good as it gets, Peach Pit is going to be a highlight of the weekend. Flying south to the warmer weather, this group of Canadian indie-rockers have been a staple in my ear for a while now. They’re four for four on records after 2024’s “Magpie” continued their hot streak. With melodic riffs today that becomes tomorrows hums at work, Peach Pit is a can’t miss. 

SATURDAY 

HOME PLATE 

Catie Turner 12:30-1:35

First rising to prominence in 2018 during season sixteen of American Idol, the Pennsylvania born singer has had the knack for performance her whole life. Making it to the top 7 that year, it was just the beginning as Catie Turner has gone on to release a barrage of tracks throughout the years since. Heading this together was the split EP, “Comedy and Tragedy” in 2023 reflecting on the passing of her father. These emotionally charged tracks are heartfelt and confident in what they are saying about loss and love. Turner released “Hurt You Now”, a three song selection, this past week.

Cage the Elephant 6:35-7:50

You are in for an unbeatable live show when Cage the Elephant takes the stage. Hailing from the home of bluegrass, these fine Kentucky gentlemen emphasize the “blues” aspect in their slick riffs and beautiful guitar tone. Lead singer Matt Schultz has grown into one of the greatest frontmen alive by turning the stage into a playground, swinging around with no regard to the woodchips in his shoes and scraps on his knees. A must see in every sense of the word.

Twenty-One Pilots 9:00-10:30

Nearing the end of extensively touring their 2024 record “Clancy” “”, Tyler Joseph and Josh Dun put out “Breach” just sixteen months later as they prepare to step away from their hectic schedule. Before they play their singular North American show on Saturday night, the duo are set to release a new single “Drag Path” on February 17th. Twenty-One Pilots will hit the road in Europe to tour “Clancy” this summer playing a variety of festivals across the continent.

RIGHT FIELD 

The Backfires 12:10-12:45

New York indie rockers The Backfires have been on my list for quite a while. Energetic and lively, I was first introduced to them in 2022 from their single “Blindsided”. Word spread to me about their great live shows and the anticipation has only grown. Releasing their first record “This Is Not An Exit” in January 2025, The Backfires have been a force touring this record including a headlining gig at The Bowery Ballroom and opening up for The Happy Fits.  

Deer Tick 1:40-2:25

The Rhode Island native John McCauley created a very unique sound in 2004. Since then, he has been joined by Christopher Dale Ryan, Dennis Michael Ryan, and Ian Patrick O’Neil to create what is known as Deer Tick. Dancing the fine line of folk, blues, rock, country, Americana, and any other genre you enjoy listening to, this versatile quartet has embarked on a journey that has given them an impressive resume. Their most recent venture, the 2024 EP “Contractual Obligations” leans into a rocking maturity that is a must listen.

Silversun Pickups 3:20-4:20

Entering year 26 of their careers, Silversun Pickups are still putting out phenomenal tracks. This can be most recently seen in their 2026 record “Tentahooks“. Lead single, “The Wreckage” creates an atmosphere reminiscent of their hits that gave the bug to all of their fans years ago. The 10 track record is their first in four years. Based out of LA, this band begins a busy year touring this brand new record.

SUNDAY

HOME PLATE 

Common People 12:50-1:35

From all over the country, these gentleman gathered to make music. Some from the west, east, and everywhere in the middle, Common People is a band of destiny. Starting out as all good bands do, just jamming with some friends. Nicky Winegardner, Cormac Cadden, Knorad Ulich, Asher Thompson, and Sam Belzer hit the record button one day, and the rest is history (with most still unwritten). Supporting fellow Innings Fest players on their upcoming tour, Congress The Band, Common People will hit the stage with their latest single “Rain” and a collection of their back catalogue.

Bowling For Soup 2:30-3:15

“If you went to a Bowling for Soup show and the PA caught on fire and all of the microphones failed and somebody stole all the guitars, Jared Reddick could stand there without a microphone and entertain 2,000 people by himself for three hours. He could do it”. This is a quote from Brendan Brown of Wheatus about Bowling for Soup frontman Jaret Reddick. This is spot on too might I add,. A lively and happy show is a staple product of Bowling For Soup, leaving you with a smile on your face after some great pop punk tunes.  

blink-182 9:00-10:30

Innings Festival is lucky, they will play host to the singular show on the books for blink-182 as of now. The California pop punk trio has been out on the road quite a bit since reuniting in 2022, but look to be taking a step back this coming year. An opportunity to see this band and its original members is one that is too good to pass up. This retreat is in hopes of new music, as their 2023 record “One More Time…“, and its deluxe edition have entered the ancient age of three years old now. Hoping for a continuation of their “Missionary Impossible Tour” setlist, this is a great way to send the fest home.

RIGHT FIELD 

Artikal Sound System 1:40-2:25

A reggae vibe at the park is an ideal way to start the day as Artikal Sound System brings their southern Florida charm to Right Field. Entering year 14 of making music, Chris Montague and Fabian Acuña have dazzled across the country. This sound will be a nice compliment to Sublime playing later in the day, both sharing that reggae heart. A.S.S. most recent LP was 2025’s “Are You Smiling” in January quickly followed by their single “Orange Crush” in May. 

Big Boi 5:30-6:30

Sunday holds the hip hop artists as Big Boi will take the stage for the first time in what will be a busy 2026. One half to Outkast, Big Boi has been a staple in the world of rap, anchoring down as an influence to many of todays contemporaries. His music always seems to find a way to young peoples ears, including opening for Kid Cudi on his Rebel Rangers Tour this summer.  

Public Enemy 7:55-8:55

Chuck D and Flavor Flav’s hip hop duo burst onto the scene in 1985, blossoming out of New York with their strong political themes. Public Enemy is a force to be reckoned with.They rose to prominence in the 90’s, receiving four consecutive Bes Rap Performance by a Duo or Group from 90-93 for “Fight The Power” and records like “Fear of a Black Planet”. The pair have continued to make music throughout their 41 years, including 2025’s release “Black Sky Over The Projects: Apartment 2025”.  

LEFT FIELD STAGE

On top of the incredible musicians playing this festival, there is a baseball side to it. Leading the charge is former pitcher Ryan Dempster, who brings his “Off the Mound” talk show to the Left Field Stage each day of the festival. Pairing that with Jake Peavy’s All Star Jam on Friday, this is an absolute joy to have and something you can only find at Innings Festival. Celebrating the start of Spring Training is a glorious thing, and theres no better way to do it than listening to baseball players jam. There will also be meet and greet opportunities at Speed Pitch and Batting Cage with the likes of Brandon Crawford, Mark Grace, and more!

This combination of baseball and music is a match made in heaven. Enjoying the Arizona sun during the coldest months of the year, surrounded by the worlds finest bands and gold glove winners is a singular experience. Tickets for Innings Festival are almost all gone, with limited Friday and Sunday passes left that you can find here. Stay tuned for interviews and a recap and listen to Downey’s Hour Monday nights 9:00-11:00 PM!

The post Innings Festival Preview appeared first on KRUI Radio.

FRIDAY DEC 26 

The week starts out with a bang as 6 of the 7 venues will be full. Radius, which is busy the whole week, brings a trio of Chris Lorenzo, Omnom, and Melé. Lorenzo just performed in Shanghai to a massive audience, continuing his global conquest. At Cermak Hall, Azzecca will be spinning with Eli Escobar and Chicago’s own Ariel Zetina. The Smartbar on Clark is where Zetina spends her time creating a loyal following in this town, a proper support to back-to-back-to-back Coachella staple Azzecca.  

Black Light Smoke and his impressive collection of synths will be making waves at Smoke and Mirrors. A cornerstone of the Logan Square scene, it continues to be a must visit on the first two days of Transitions. Incorrect Music owner Anthony Attalla will be bringing his wide collection to Serum on Friday evening. The Chicago based dj will be supported by his fellow labelmates Carlo Lio and DJ F*ck Chuck. 

SATURDAY DEC 27 

Ayybo will be calling Cermak Hall home on Saturday as he continues his climb. He just announced his biggest headlining show to date at the Knockdown Center in Queens for this March. Odymel also has had a big year with his Boiler Room set dropping just last month. He will be performing at Smoke and Mirrors on Saturday Night. 

Matroda will play his second to last set of his busy year at Concord Music Hall. He sold out three nights in Los Angeles at Gloria Molina Grand Park in the heart of downtown. An expansive sound that erupts live. Havana’s favorite duo Pauza will take on Spybar with their crystallizing sound heavily intertwined with their Caribbean heritage. 

SUNDAY DEC 28 

Cloonee has had a bucket list year, playing Lollapalooza, EDC, and many more iconic festivals but none more iconic than his latest announcement of Red Rocks this May. A feat reserved for the best artists of our time, Cloonee has earned his spot as one of the most electric shows out there. He will be playing Radius with Andruss and Iglesias. Hailing from across the pond in Dundee, Scotland, Hannah Laing has had a monumental run in the past 10 years. Becoming one of the first female residents at Hï Ibiza, there is no denying her star power as she will perform at Serum. 

MONDAY DEC 29 

Radius will be the home to an incredible combo of Four Tet, Dylan Brady, and INVT. A massive amount of talent for one room on one night, there is a sweeping variety on 640 W Cermak Street. Four Tet is an internationally renowned DJ, wrapping up a run in South Africa earlier this December. Dylan Brady of 100 Gecs will also be playing, continuing a busy year that includes a collaboration with Skrillex. Chloe Caillet, who just played her first all nighter, will be at Cermak Hall with Floorplan, Paurro, and Chicago’s own HOTPRETTY.  

TUESDAY DEC 30 

Cermak Hall continues to host stellar days as Kobosil will take the helm with the help of Cera Khin B2B Zorza. Kobosil, a Berlin born techno artist, has had a storied career starting to spin records at 17 years old, amassing a craterous inventory of songs that continue to draw people in.  

Purple Disco Machine brings his bright and energetic show to Radius on Tuesday Night. The realms of music Tio Piontek dives into makes an atmosphere unlike any other. With support from Claude Vonstroke and Never Dull, there is no lack of new sounds between the trio.  

WEDNESDAY DEC 31 

The busiest and final day of the week culminates with a massive 21 hour set at Outset. From 7am to 4am, Adam Beyer, Derrick Carter, Noizu and many more will be performing well into the new year. All other venues will be full too, as Cermak Hall houses Kasablanca and HNTR, Perc and Selective Response take on Smoke and Mirrors, and many more world class artists continue their runs in Chicago.  

Throughout the 7 days, there is no shortage of incredible artistry on display. DJ’s from all over the world are bringing their unique sound to one city, and Transitions is home to it all. The wide variety in genres and stylings are mesmerizing as it sprawls across Chicago for 7 days. You can check out the full lineup below, and find tickets here.  

The post Festival Preview: Chicago’s New Year Transitions, Dec. 26–Jan. 1st appeared first on KRUI Radio.

Tom Higgenson: I don’t think they’re like considered to be emo in the same scene. 

DeMar Hamilton: But they could be on the festival and it would be, it’d be awesome.  

Logan Melia: They were. First year, Avril Lavigne played weekend one, got sick, weekend two, they came in.

Tim Lopez: No shit? 

Logan: Yeah, so they like weren’t ‘on’ on the lineup but you know. They’re one of my all-time favorites.

DeMar: I love them, yeah they’re awesome.

Logan: All right, Plain White T’s, how are we feeling guys? 

Tim: Feeling good how are you? 

Mike Retondo: Feeling great man.

Logan: When We Were Young and we had a big show yesterday with Hawthorne Heights.

Tim: Oh yeah. 

Logan: How was that?

Tim: That was amazing. It was a pool party. 

Logan: You guys jumped in at all? 

Tim: None of us jumped in the pool. I didn’t bring trunks to be honest.

DeMar: We did that emo’s not dead cruise so it was like oh this is the cruise but in Vegas at our hotel.

Tim: Thats exactly what it was.

Logan: How do you like the Vegas Vibe so far?

Tim: I mean, I like it. I like Vegas in short spurts.  

Logan: Weekends.  

Tim: Yep, exactly. 

Mike: It’s nice this year. We did it two years ago, this fest, and it’s a lot cooler now than it was two years ago.  

Tim: Like temperature wise. 

Mike: Vegas breeze rolling through. 

Tim: I feel like Vegas is getting like a little grittier. 

Mike: Grittier? 

Tim: Yeah. 

DeMar: Going back to its roots. 

Tim: Yeah, I think so. As I was driving in, I was like, yeah, this is where like all the bodies are buried.  

De’Mar: Yeah, it is kind of sketchy. 

Logan: On the Uber over here, there was a place with a bunch of tanks and ammunition.  

DeMar: Yeah, right across right here.

Logan: Yeah, that’s my first time here. I woke up, you know, kind of got in the car and that was one of the first things I saw.  

Tim: Yeah, greeted with that. Welcome.  

Logan: Yeah. You guys are on the road quick with the Delilah v. Juliette Tour. So you keep going, are you guys excited for that?  

Tom: Oh, yeah, yeah. Cannot wait and Emo Nite is opening by like spinning a bunch and DJing emo bangers to get the crowd going so it’s going to be a super fun tour. 

Logan: Do you guys have any favorites that you go sneak on to that pre-show playlist?

Tom: Yes.

Tim: Ooh probably but I don’t know if we’re controlling that thing, I don’t know.

DeMar: I’m sure they’re gonna play some some Panic!, some Fall Out Boy you know Taking Back Sunday, Ocean Avenue.

Tom: Yeah the hits.

Logan: Now you’re from the Chicago suburbs, I’m from Westmont, Illinois.

Tom: Oh no shit?

Logan: Yeah right next to Lombard and I’m not sure I’m familiar with the current scene, but they got a cool couple of DIY venues. There’s one called Basement of the Coven in the bottom of a salon that you got like a ladder down or whatever, and your guys’ name is on the wall.

DeMar: No way!

Logan: I’m being completely serious right now. 

Tim: Like a sticker or we have been there? 

Logan: I don’t think you guys have been there. 

Tim: You gotta climb down a ladder to get into the place? 

Mike: That sounds awesome!

Tom: We should go play it!

Logan: Yeah, it’s awesome. Basement of the Coven. It’s right in downtown Lombard and right next to the train station in this little outlet. 

Tim: Dude we should go play it.

Logan: If you guys really want we can set it up.

Tim: Send the info.

Mike: Next to the train stop video building.

Logan: How was the scene when you guys were growing up there in Lombard, what was it like?  

Tom: It was so awesome.  

Mike: Great library. Lilacia Park is beautiful.  

DeMar: I love it.

Tom: I literally just, on the way here today in the car, listened to our friends Lucky Boys Confusion. I don’t know if you know them from back in the day, but they just released one of their independent albums digitally on Spotify. And so rocking that on the way here and thinking back to all those old suburban scene shows. We played with them all the time, Show Off all the time, DeMar’s band, Knockout, Mike’s old man, Tone Deaf George. It was a vibrant scene.  Everybody, all the bands just kind of helping each other out and just trying to build this thing that eventually we moved it into the city and you know we’re selling out The Metro and the freaking Fireside Bowl and places like that. So yeah it was really the scene was important to us back in the day.  

Logan: I did some research. 17 shows was my count for how many times you guys played The Metro.

Tim: Woah!

Logan: Do you remember the very first one?  

Tom: I do. These guys weren’t even in the band. When we started, one of our original goals was to play The Metro. That was like my favorite venue going to shows in the city and within about a year or so we got our first gig there so it was cool. Yeah, actually they let us into The Metro before the Fireside and before any of those other cool venues.

Mike: Who was there? 

Tom: It was with Woolworthy, who I believe is still maybe a band. 

Mike: I was at that show and I have the ticket stub. 

Tom: No shit? Yeah crazy.  

Mike: Didn’t play but it was a fan. I love Woolworthy.  

Logan: Well, I want to thank you guys so much for sitting down and taking time with me. I’m looking forward to your set later today. 

Tom: See you in Lombard, man.  

Logan: I’ll be there. 

The Plain White T’s showed once again what makes them the connective tissue for so many music fans, even beyond the scene. Hitting tracks off of 5 separate albums, and even throwing in a cover by Chicago suburb brethren Fall Out Boy with their song “Dance, Dance”, the Lombard locals flaunted their expansive and entrapping discography. They will wrap up the year opening for Waterparks in December and playing the Magnificent Mile Lights Festival in Chicago. You can find tour dates here as we await what is next for the quintet.

The post Interview: KRUI With The Plain White T’s appeared first on KRUI Radio.

I had the chance to sit down with Andrew McMahon while at When We Were Young Festival in Las Vegas. Known best for his illustrious collection of projects Jack’s Mannequin, Something Corporate, and Andrew McMahon in the Wilderness, McMahon’s catalogue reaches depths very few do. We spoke about his historic gig at Red Rocks this summer, playing at Notre Dame Stadium, and how incredible of a movie “Popstar: Never Stop Never Stopping” is.

Logan Melia: How you doing, Andrew?  

Andrew McMahon: I’m doing good. How are you?  

Logan: I’m doing really well. Bottom of my heart, thank you so much. I’m a huge fan. This is so cool for me.  

Andrew: Absolutely. My pleasure. Thanks for having me.  

Logan: So, my first introduction to you was Something Corporate in 2024, last year at Riot Fest. 

Andrew: No shit. Okay, amazing. 

Logan: Yeah, so I’m new on the street. 

Andrew: You’re new in here. I love it.  

Logan: And I heard “If U C Jordan” and I went, what’s going on at that stage? And I booked it over there. 

Andrew: That’s amazing. 

Logan:I just, I fell in love with you guys and all your work.  

Andrew: Thank you.  

Logan: This return, between Jack’s Mannequin and Something Corporate, how’s it been for you so far? 

Andrew: It’s been good. You know, like, I’ve been on this sort of mission to revisit these projects that were sort of foundational to my becoming the artist that I am and the writer that I am. And it felt like there was, like, some unfinished business there, you know? I’m 43 as of this year, but I was kind of leading in my 40th birthday I was like, I want to, you know, now I feel like I have enough hindsight and my feet on the ground. Let’s reframe this music in a different time, you know. So it’s been a crazy two years. It’s like I’m getting to relive the memories that, that sort of led to the writing of these songs. But getting to do it, I think, in a way that’s a little more holistic and a little more engaged and aware and seeing people still love these songs. It’s like, it’s pretty powerful.  

Logan: You played quite the gig at Red Rocks this summer. With all your bands. I wasn’t there, but it looked absolutely incredible. Did you just decide one day, you know what, I want to be on stage the whole night? How did that come to be?  

Andrew: Honestly, my, so my managers are based in Denver. And so Red Rocks is like, aside from being one of the most revered venues in the world, it’s in their backyard. And, they came to me one day and they were like, look, Red Rocks is willing to make an offer if you’ll do a show with two of your three bands. If you get two of the three, we’ll do it. And I thought about it and I was like, that’s too many people, I can’t sell that many tickets. I gave them all the reasons. And I finally landed on like, well, if we’re going to do this, we should just do it with everybody.  

Logan: Do it all out. 

Andrew: This feels important enough. Let’s not limit what can be played. Let’s just get all of these, let’s give it. Let’s get a stage for all of the songs from all of the years with everybody. And I was terrified and I worked, we worked tirelessly for a year to put the show together. I’s probably one of my proudest moments making music. And to get to share it with all of these characters and amazing musicians that helped bring all the songs to life originally. It was special in a way that it’s hard to describe. 

Logan: It was all three of it. Did you start rehearsing with one band specifically? Or did you just, what was the process? 

Andrew: Well, so luckily Something Corporate had been on the road for a good chunk of that year. So we sort of already had our feedback. The Jack’s Mannequin and Wilderness bands are virtually the same, give or take a guy or two. So it was really a matter of like getting that stuff back up and running and learning those songs. And then we just kind of put everybody in a room for five days up in Denver with the production build. Learned what it was going to look like, how it was going to feel. Because usually you do these production rehearsals and you get like a test run in a smaller venue. We didn’t have that. It was like, we were booting up the most ambitious show we’ve ever performed for the first time at Red Rocks, you know? So it was all of us kind of like living together for a week and, and running through sets and through sections of the show and going okay, this works. This doesn’t work. And editing in real time, it was pretty intense.  

Logan: You also played a pretty cool gig opening up for Billy Joel for the first gig at Notre Dame Stadium ever, I believe. 

Andrew: I mean, that I don’t know, but I know I did play, I know I played Notre Dame with Billy Joel. So that’s an interesting thought that it was their first gig ever there. That would be wild. 

Logan: I believe it was.  

Andrew: Yeah. I got to do maybe six or seven shows with him over the course of a few years and he was my idol. That was, for me, when I started playing piano and singing, it was all about Billy Joel. It was the first concert I ever attended. He was the music I was learning on a piano. He was the artist I was emulating when I was writing my songs, 9, 10, 11, 12 years old. Never in my wildest dreams did I think I was going to share a stage with him. And he was so kind and invited me back so many times. I was raised in an Irish Catholic family.  

Logan: Me as well.  

Andrew: My whole family flew out so that they could be there and see a show at Notre Dame. Because my brothers, their father, my two brothers and sister, their father went to Notre Dame. So we were like, it was a Notre Dame household and still is to this day.  

Logan: Playing USC right now. 

Andrew: I am getting the updates constantly on my phone. But it was a big night for my family to not only see me play with Billy, who was a family hero, but to do it at Notre Dame, which was their team.  

Logan: That’s holy ground in more ways than one right there. You have a TV show that you are working on.  

Andrew: I’m working on a TV show!  

Logan: I just did some research for this. I was like, okay, play some really cool gigs and all that stuff. We have a TV show in the mix. So what’s going on there? 

Andrew: I met this really great producer guy named Adam Londy a few years ago. He was trying to option the rights for my book that I put out, the memoir that I put out. They weren’t available at the time. He came back to me a few months later. He was like, look, I just want to do a show with you. Here’s my idea. What if the jumping off point is Orange County, where you grew up. And it’s loosely based on one of your old songs, a song called “Konstantine”. Just kind of like a rom-com, but it’s about a couple that should maybe never get together. I was like, sounds cool. Weirdly, I’ve been along for the ride. We have the amazing Pat Cunnane who is a really in-demand screenwriter right now. And then Paris Hilton jumped on board to get in the mix and produce and possibly narrate. I’ve worked in TV on and off for years. I’ve scored stuff for television. I’ve written for film. But it’s the first time I’m there from the jump and get to be a part of the creative team. It’s super exciting. For all the nostalgia going around right now, this show is going to be based in the early aughts. And we’re really going to be reflecting the culture of that time back. It’s also why Paris was such a great fit for it. But it’s in its infancy. We still have to write the pilot, get greenlit, cast, and do the whole thing. But it will be how I spend probably a chunk of next year. 

Logan: That’s exciting.  

Andrew: I’m super excited. I’m a TV junkie so this is allowing me to stretch out and diversify into a world where I actually spend a lot offtime.  

Logan: What are you watching right now?  

Andrew: I’m just in the middle of the first season, “The Fucking End of the World”. I don’t know if you’ve seen that.  

Logan: I have not, no.  

Andrew: It’s “The End of the Fucking World”, I think it’s called, it’s amazing. “House of Guinness” was a big one that I’ve been into. Task is the other one that is a newer show that I’ve been watching. I just revisited a bunch of old “Serpent”, serial killer kind of shit. But the go-to’s are “The Office”, “Parks and Rec”, “30 Rock”. Those are my comforts. We’re watching “Brooklyn Nine-Nine” with my daughter right now.  

Logan: Andy Samberg, he’s great. 

Andrew: Andy Samberg is my fucking hero. I can’t wait until my daughter is old enough so I can show her “Popstar”, which is one of my favorites. 

Logan: “Never Stop, Never Stopping”. 

Andrew: “Never Stop, Never Stopping”. We can go into all the songs. But yes, it’s great. I’m trying to think what else has been top of mind at the moment. Those are the big ones that I’m into right now. I just saw “Game of Thrones” for the first time this year. 

Logan: How was that? I never watched it.  

Andrew: I was traveling a ton. I watched every season, every episode in like two months.  

Logan: Oh wow.  

Andrew: I spent way too much time watching Game of Thrones. It was great though. 

Logan: Won’t keep you too much longer. Do you remember the first song? Maybe not for Something Corporate or anything like that. But the first time you put together a song and you went, I got a verse, a chorus, another verse. Do you remember that song and what it was?  

Andrew: Yeah, it was called “Believe”. I was nine, it was the first song I ever wrote. It was for my uncle who had recently passed away. It’s what drove me to play the piano. I always had a piano in my house. We went through this family tragedy. Truthfully, my uncle was just so important to all of us. He was really kind of like a de facto patriarch in the family, just like this guy who meant so much to everybody. I found myself sitting down at the piano for really the first time and writing a song to process that grief. That was it for me. I was like, oh shit, this is what I do now. I never looked back. 

Logan: You made a hell of a career out of it.  

Andrew: Thank you. I appreciate it.  

Logan: What up-and-coming artists do you have your eye on? Do you have your eye on anyone?  

Andrew: I guess he’s probably a little further along than up-and-coming, but Medium Build has been, for me, huge. I love what he’s saying. I think he’s a true poet and has his eye on the prize in a way that I really appreciate. There’s an artist named Annika Bennett. Again, she’s been around for a little while, but I think she’s going to continue to do big things. She’s amazing. Those are my two favorites that I’m watching closely and that I’m always hoping are going to just keep getting bigger and bigger because they deserve it.  

Logan: Absolutely. Well, thank you so much for taking the time to sit down with me. I really, really appreciate it.  

Andrew: Thank you.  

The sun had fully set over Las Vegas as Andrew McMahon led Jack’s Mannequin through a stellar set at the Allianz Stage. McMahon played seven tracks, including “Restless Dream”, which he preceded by forewarning “This is probably ill advised; which is we are going to play a really, really quiet song. Certainly on the metal stage it’s probably even less advised, but you all look beautiful and I’m gonna come down and sing and dance with you guys”. Hopping down into the crowd for the tune off of their 2011 record “People and Things”, it was one of my favorite moments of the festival. That performance of “Restless Dream” encapsulated the warmth of this show, just pure magic. It felt as if the barricades were non-existent and the stage was built into the whole crowd as the chorus of voices sang along. You can catch Jack’s Mannequin on tour this fall across North America. Stay tuned for more coverage from When We Were Young Festival and listen to Downey’s Hour on Monday nights 9-11pm for your latest festival news!

Cover Photo by Sean Jorg. Courtesy of When We Were Young Festival.

The post Interview: Andrew McMahon appeared first on KRUI Radio.

I sat down with Jordan Brown and Matt Wilson of Set Your Goals while at When We Were Young Festival. The California natives made their highly anticipated homecoming this past February, playing their first gig in 6 years. We spoke about their return to live performances, whats next for Set Your Goals, and how good “One Battle After Another” is.

Logan Melia: How are you guys doing today? 

Jordan Brown: It’s hot. 

Matt Wilson: Yeah, exhausted.

Logan: Are you not desert folk? 

Matt: No. We’re actually from California.

Jordan: The 8:30 sun here is blistering. So different from California sun, I think. 

Logan: This is my first time here, does it really get that cold at night? 

Matt: Yeah it’s freezing. 

Jordan: Yeah, it’s freezing here. But Nevada’s awesome. 

Matt: Hoodie or jacket weather the last couple nights. 

Logan: How long have you guys been in Vegas for? 

Jordan: Since Thursday. We got in in the morning and did a rehearsal. We rehearsed at MDV rehearsal space. So, plug for MDV. 

Logan: How was that? 

Jordan:  Very good. They’ve got, like, four rooms for local artists and touring bands who want to stop in and a full back line. You know, bring your own gear or borrow from them. So we got to play there for a few hours. 

Logan: Now, I never thought I was going to be able to see you guys. This is huge. I’m 20. I grew up with guys in the background but a little too young to go to your final gigs.  

Matt: We’re also 20. Our band is 20. 

Jordan: 20 years old. Yeah. We play at 5:40 on the Allianz stage. If you don’t have other interviews, come on by. 

Logan: I will definitely be there. I’m absolutely stoked for you guys. 

Matt: Appreciate that. 

Logan: Your first gig back, Great American Music Hall in San Francisco, how was the preparation for that? How were you feeling going into the gig?  

Matt: We booked an adequate amount of time to get prepared. And we felt really good going into it. It was just so cool to play music again after five years off and see so many old friends and family. People flew in from all over the world. It was crazy. So yeah, it was a warm welcome back. 

Jordan: We didn’t really know what we would be doing exactly. Matt and I hung out in 2023. 

Matt: Yeah. Something like that. 

Jordan: Like, the end of 2023. We went into COVID lockdown like everybody else and just went our own ways, you know, doing our own thing. And then, end of that year, I asked Matt. 

Matt: Whenever “Dune Part 2” came out.  

Jordan: I asked him if he wanted to go see “Dune Part 2”. And so we watched that and then, I thought during the film, ‘Hey, this is some great music. Hans Zimmer is a genius again. I miss music. Matt, do you want to play shows?’ He said, I’ll ask the rest of the guys. And so, we just thought we’d do a couple of shows in our hometown. And then, we got offered When We Were Young and Four Chord Fest within weeks. 

Logan: Which was a crazy lineup. Four Chord Fest. I mean, anything with Jawbreaker. 

Jordan: Yeah. AFI headlining with Jawbreaker. blink-182. 

Matt: blink. Jimmy (Eat World). 

Jordan: Jimmy. 

Matt: Great lineup. 

Jordan: Yeah, Knuckle Puck. 

Matt: I like this lineup, really.  

Logan: Oh this lineup’s awesome. Don’t get me wrong. You mentioned “Dune 2”, they just released a teaser for “Dune 3”. 

Jordan: Yeah. They’ll probably keep going. 

Logan: Are you guys big movies guys? 

Jordan: Oh yeah. 

Matt: Jordan’s the biggest movie guy. 

Jordan: Me and Dan and Matt, though. Matt and I hit up movies pretty frequently. I work at a movie theater on the weekends so, it’s like a nice amenity being able to just hop in and see anything. We watched “One Battle After Another” a few days ago. 

Matt: Best movie of the year. 10 out of 10. 

Jordan: Incredible. It is the best Paul Thomas Anderson movie. It is an odyssey. It’s filmed in VistaVision. It looks and feels exciting. It’s funny and thrilling at the same time. I’ve never laughed so hard and been on the edge of my seat for like nearly three hours. Wish it had been five hours. 

Logan: The Springsteen movie is coming out. Are you guys Springsteen fans? 

Matt: Yes. 

Jordan: Yeah. Absolutely. Yeah. You’ve got a great cast supporting that feature. I think it’s opening later this month. Yeah. I’ll be there. I liked the Bob Dylan movie, that was good. The Queen movie was excellent. Biopics are great. Even if critics are not on them, audiences love them. If you have fun, you’re having fun. 

Logan: You guys announced Slam Dunk Festival, so this is going well. You guys are having fun if you’re still going next year. 

Matt: Yeah. The ball is rolling. 

Logan: The ball is rolling. I understand if you can’t say anything, but have you guys started jamming maybe some new tracks here and there?  

Matt: We are working on some new music. Very excited about it.

Logan: It’s been a minute, but if you can remember back then, how long did it take to get a track going for you guys? Is it a laborious thing or does it kind of fall out of the sky?  

Matt: It depends. There’s some songs where we just, I don’t know, Jordan will come up with an idea that’s really complete. And other ones, it’s just a riff and we build around it. 

Jordan: Mikey and Dan are contributing a lot as well. Mikey, our drummer, plays a lot of guitar. We’ve just been working on one of his songs. We’ve also been working on a song that we first originated in 2019, pre-COVID lockdown. Mikey and I had a batch of, I’d say, 10 to 12 songs pretty ready to go. And then 2020, everything shut down. We went a little hard that first year because we had nothing else to do. But yeah, Matt, I remember you hit me up in 2023 and were like, ‘Hey, I heard some of the songs you and Mikey were working on a few years ago. How do we get this ball rolling?’, and I just had no idea at that time. It’s nice to not have a deadline. Just spend our time with tracking it and getting it to where we’d like to be. 

Logan: When you guys are in the studio, do you ever say, ‘let’s get a banjo in the mix. Let’s do something off the wall.’ Is there any wild ideas that you guys either want to do or have done? 

Jordan: Yeah.  

Matt: I’m trying to think of a good one. We used a shaker in one song, little egg shakers. 

Jordan: We do like percussion. Any sort of texture you can add to the underground of a song. 

Matt: Yeah, we’ve been talking about some very subtle synth, stuff like that. 

Jordan: Yeah, I saw John Williams play two summers ago at the Hollywood Bowl, and it was phenomenal. It was like a bucket list thing. But there’s something about cinematic film scores, the cues and the way they lift the scene. So we’ve been playing around with effects, even a basic tremolo effect on some of our guitars. Things that are pleasant to hear in the headphones, but we might also be able to play live if the audience reacts to it once we release them. There’s a great studio in Oakland, California called Shark Fight Studios. It’s like $350 a day, which is very, very affordable compared to LA prices. We hit a day there for drum tracking, and we’ve just been enjoying tracking guitars, bass, vocals with a buddy of ours. He has a recording studio in his ADU in his backyard. So it’s got a very… what is it, the vibe is good? The home vibe is good? 

Matt: The vibe is chill. 

Jordan: The vibe is chill. 

Logan: You mentioned Oakland. Your first gig back in 2016, if I’m correct, was 924 Gilman Street. For any kid who listens to Jawbreaker, that’s the coolest venue in the world.  

Matt: Thank you. I agree. We’re fortunate to have grown up going to shows there. That was incredible, that was a great gig. 

Jordan: Yeah, no barriers. 

Matt: Uncomfortably packed, but that’s the best way to do it. That’s how you do it. 

Jordan: Gilman. Another venue on the rise in Berkeley is Cornerstone. I don’t know if the UC Theater is still doing shows. Berkeley is an incredible city. It would be great to play Gilman again. 

Logan: Do you guys have any dream venues?  

Matt: I would love to play Red Rocks one day. That would be incredible. I guess we played The Gorge on Warped Tour.  

Jordan: Yeah.

Matt: Red Rocks would be unreal. 

Jordan: Outdoor amphitheaters like the Greek Theater, another Berkeley venue. The Greek Theater would be a very neat place to open for anybody if we could get that opportunity. 

Matt: That would be really cool. A hometown venue on the bucket list. 

Logan: Do you guys have any favorite gigs you’ve been to? 

Jordan: So many. You just saw two Oasis shows. 

Matt: Oasis was great. One of the most recent ones was this last Nine Inch Nails tour. The production is incredible. They have a live camera and a see-through screen around the stage that they project onto. It was just so cool. 

Jordan: Going back to John Williams, two nights at the Hollywood Bowl. He played everything from the Jurassic Park theme to Princess Leia’s theme, Yoda’s theme, Asteroid Field. He had some deep cuts. Then he had the Indiana Jones theme. A new pick from the most recent Indiana Jones movie. They had the whole Cal State University Fullerton Choir on stage for A Duel of the Fates. That was an unbelievable experience. That’s probably my most memorable in the last couple of years. 

Matt: Also, last time I was here for Sick New World last year, which this same company does, I saw Danny Elfman and that was unreal. They had like 30 people on stage, it was crazy. A whole orchestra. It was nuts.  

Logan: Do you guys have any dream gigs that you want to play that you’re like, you know what, I want to do something with these artists. I want to do it with a live orchestra. 

Matt: So many. I wouldn’t even know where to start. 

Jordan: I’d really love to play with All Time Low again. It would be great to reconnect with them. They’ve been one of the first bands outside of the hardcore scene that really appreciated us and would take us out. We did our first tour of Australia together. They dropped a new album today. I’ve been listening to it all morning. 

Matt: I just got my haircut in the barbershop tent next to Zach. He was getting his haircut at the same time. 

Jordan: Just talking about Danny Elfman, a couple of the tracks on their new album sound a bit like Oingo Boingo to me. I can hear that 80s horn influence. No horns on the song, but you can just feel the deep roots. Turmoil would be great. We were talking about playing with some friends of ours. Turmoil, Terror, maybe trying to do some throwback type tours that we did in the early years. 

Logan: Anything else you want to talk about as I let you go here? 

Jordan: I just want to thank everyone who’s come out and supported the shows. We booked those February shows and didn’t know. We didn’t have any plans and these offers came. We played Area 15 yesterday, and people were so supportive of us opening that show. 

Matt: We just really appreciate the love after 20 years of doing this. So it’s really cool.

Logan: Thank you so much for taking the time. I’m looking forward to your set tonight!

Set Your Goals played an electric set at the Allianz Stage that was an absolute joy to watch. With enough energy to power the whole festival, Jordan and Matt picked up right where they left off. They have wrapped up their shows for 2025 but recently announced that they will be playing Slam Dunk Festival in May of 2026. You can find tickets here. I’m eagerly awaiting what Jordan and Matt have in store for the future of Set Your Goals. Tune in Monday nights 9-11pm for Downey’s Hour for your latest festival news and more coverage of When We Were Young Festival!

Cover photo by Sophia Juliette, courtesy of When We Were Young Festival.

The post Interview: Set Your Goals at When We Were Young appeared first on KRUI Radio.

I was off and running at 11:00 where I went to the Allianz stage to see a bit of Her Leather Jacket, who I would be interviewing later that day. Hitting us hard and fast for the first set of the day, the Nashville based duo played through nine songs including their latest single “Death Train” that features Kellin Quinn from Sleeping with Sirens. They will be opening for The Used later this month. 

I made my way to the press lounge to interview The Plain White T’s ahead of their slot at 2:45. We spoke about their upbringing right next door to my hometown in Lombard, Illinois and our shared love of Death Cab for Cutie. Sticking around for their set later that day, they played their hits “Rhythm of Love”, “Hey There Delilah” and a surprise cover of fellow Chicago area natives, Fall Out Boy’s “Dance, Dance”. A splendid set as they kick off their “Delilah vs. Juliet” tour with We The Kings.

I got my steps in as I was running between stages trying to catch as many artists as I could. I stopped by to see The Red Jumpsuit Apparatus, who I would interview later that day, at 12:10 and split their set with Destroy Boys who tore up the Pink Stage starting at 12:20. The Red Jumpsuit Apparatus played their latest single “Slipping Through (No Kings)” off their 2025 record “X’s For Eyes”. This was their first record in 7 years as they were welcomed back to When We Were Young for the second year in a row. Destroy Boys continued to wrangle in new fans as they cement themselves as new pillars in the scene. Their 2024 record “Funeral Soundtrack #4” was well represented with 4 of their 9 songs on their set coming from that record. 

In 2025, Mayday Parade is celebrating 20 years as a band and releasing a 3-part album on top of the festivities. Having released the first two albums, “Sweet” in April and “Sad” earlier this month, you can hear these tunes live as they join All Time Low for the “Everyone’s Talking” tour that will stop in Iowa on October 29^th. Rallying back and forth all day, the Pink Stage and 7-Eleven stage continued serving each other pop punk and emo favorites with Boys Like Girls, who followed next. Recently releasing their first live record, the Massachusetts quartet will take a well-deserved break after their “Basements to Bleachers” tour comes to a close. Boys Like Girls final date this year will be at Warped Tour Orlando. 

If you had any built-up energy inside you, waiting to be released at the right moment, DRAIN would have been the time to do it. A live act that you feel through every bone in your body, fans were treated to three tracks off their latest record “…IS YOUR FRIEND” and a cover of Descendant’s “Good Good Things”. DRAIN is on tour supporting Kublai Khan TX this fall on tour. Straylight Run began their all-to-be brief set with a personal favorite, “Mistakes We Knew We Were Making”. Playing heavily from their self titled LP, it was a joy to see a band that has only performed seven shows since 2009. On a busy weekend, playing a side show as well, the New York indie rockers were well worth the wait. Fellow New Yorker Adam Lazarra from Taking Back Sunday came out to celebrate with Straylight Run, performing their closing track “Existentialism on Prom Night” together. An incredible set to witness. 

We The Kings and The Cab were a great back-to-back combo at the Ghost Stage. “Check Yes, Juliet”, “Secret Valentine”, and even a cover of Las Vegas’ own The Killers with “Mr. Brightside”, We The Kings gave the crowd everything they had in the tank. Travis Clark sounded phenomenal, leading the band through a dynamite set. If you’re dying to hear more We The Kings like myself, you can see them on the “Delilah vs. Juliet” tour with The Plain White T’s this fall. I had a chance to chat with Travis, Coley, Hunter, and Sebastian after their set, stay tuned to 89.7 KRUI for the interview. The Cab soon followed, continuing on their first tour in 11 years. Their limited run will include opening for All Time Low on the “Everyone’s Talking” tour, coming to Vibrant Music Hall on October 29^th. While watching The Cab play at When We Were Young, I was hit with the realization that I knew exactly where I was going to be on the 29th.   

Simple Plan has been on my list for a while, so I was thrilled to see that the pop punk veterans bring the same energy and excitement I had heard so much about. Lively and live is the best way to see music, and the Montréal natives delivered. Bringing out dozens of Scooby Doo’s and all their hits like “Perfect” and “I’d Do Anything”, I couldn’t imagine When We Were Young without them. On the neighboring Pink Stage right after Simple Plan was “the scariest band at this fucking fest. Act accordingly”. Those words came out of Bryan Garris’ mouth, frontman for the Kentucky’s Knocked Loose. Known for their destructive pits, brutal wall of death, and torrential crowd surfers, this was a must see set for me. I began to lose track of what song they were on because I was so lost in the nauseatingly good riffs. Hitting five songs off “You Won’t Go Before You’re Supposed To”, there was no shortage of this breakout album. Go see Knocked Loose, you will want to see them again. They will be supporting Metallica in Europe next year and have just been announced that they will be returning to the Las Vegas Festival Grounds for Sick New World on April 25^th, 2026. 

With amps covered in New Jersey fanfare and the sun beginning it’s decent behind the Spring Mountains, there was no better time to hear The Gaslight Anthem. Bringing a softer and older vibe to the festival compared to other bands sharing the bill, this was a welcomed change of pace being serenaded to the tune of “Positive Charge”.  Quickly ending the more laid-back vibe was Bad Religion. Swiftly moving people’s feet and frying their vocal chords to the tune of “American Jesus”, the oldest band at the festival made waves like they were 20 years old playing in a basement. The punk legends will be opening for The Offspring on their “Supercharged in ‘26” tour that will come to Sioux City, Iowa on February 7^th. 

Set Your Goals was one of my most anticipated sets of the weekend. I have been dying to see the California duo of Jordan Brown and Matt Wilson for years and they did not disappoint. Making their return to the stage this past February, Set Your Goals made it seem like no time had passed by bringing the same energy you would feel at a house show of theirs 20 years ago. The band is celebrating two decades of music and will continue next year at Slam Dunk Festival in England. Something I really appreciated about Set Your Goals was their changing of the setlist. While in Las Vegas, the Bay Area hardcore outfit played three shows, and each one carrying a different collection of their tunes. Hitting tracks from “Mutiny!”, “This Will Be the Death of Us”, and even a deep cut off “The Reset Demo”, it was everything a fan could have dreamed of. The Saturday crowd was treated to the song “This Will Be the Death of Us” accompanied by Vince Caruana from The Movielife. I had a chance to sit down with Jordan and Matt, talking about new music they are working on, favorite movies of the year, and much more. Stay tuned for the interview on 89.7 KRUI. 

Chiodos tore through their set as they continue their “20 Years of All’s Well That Ends Well” tour with support from Hawthorne Heights, Holywtr, and Big Ass Truck. This tour will be stopping at the Val Air Ballroom on December 7^th. Not long after was letlive. who continued the streak of heavy hitters on the Aliianz Stage. The Los Angeles group disbanded in 2017 but came back this year for the “sincerely yours” farewell tour. A proper goodbye to the guys who played in every backyard and basement possible.

All Time Low had an incredibly busy weekend with the release of their latest record “Everyone’s Talking”. The scene legends continue their jam-packed year as they’ve joined The Jonas Brothers on stage, accompanied The Savannah Bananas at Camden Yards, and played their latest single “The Weather” on The TODAY Show. The Maryland natives show no signs of slowing down as their “Everyone’s Talking Tour” crosses the country, including a stop in Iowa at Vibrant Music Hall on October 29th. The Maryland rockers began their weekend on Friday night with a show on Freemont Street to celebrate their 9^th LP’s release. Being lit up by thousands of Freemont Street light bulbs, the band played 17 songs including a live debut of “Little Bit”. All Time Low’s sets at When We Were Young also held surprises in hand as they played “Hate This Song” with Eric Vanlerberghe from I Prevail along with performing “Monsters” with blackbear. Closing their set with “Dear Maria, Count Me In” under a heavy forecast of confetti, All Time Low was a standout at When We Were Young.  

California punk rockers, and doctors, The Offspring took to the 7-Eleven Stage at 6:05. Brandon Pertzbron began hitting the high hat, Noodles reminded the crowd that “You gotta keep ‘em separated”, and the band broke into “Come Out and Play” off their 1994 breakthrough record “Smash”. The Offspring continues to impress today with an energetic live performance that stirs up images reminiscent of their 1994 Woodstock gig. Giving love to their record “Americana”, Dexter Holland sang “The Kids Aren’t Alright” and the fun, ska adjacent “Why Don’t You Get a Job”. For the most famous track off that record, The Offspring held a surprise in store. The original “Pretty Fly (for a White Guy)”, Guy Cohen was brought on stage in his famous red hat and light blue football jersey. Dancing along to the 1998 hit, The Offspring continues to tear down the house live. They will be on the “Worldwide in ‘26” tour this winter with Bad Religion promoting their latest record “Supercharged”. They will be playing the Tyson Events Center in Sioux City on February 7^th.

Pop punk princess Avril Lavigne appeared atop over a dozen amps with the iconic drum hits of “Girlfriend” accompanying her entrance. Playing through all the fan favorites like “What the Hell” and “Sk8er Boi”, Lavigne also dove into her most recent record, 2022’s “Love Sux” playing its lead single “Bite Me”. This album was produced by blink-182 drummer Travis Barker and alternative producing legend John Feldmann who has worked with everyone from Good Charlotte to Korn. Pierre Bouvier from Simple Plan was brought out to sing “Young and Dumb” on night one while Derek Whibley from Sum 41 came out of retirement to play “In Too Deep” on the second night.  

At 8:00, Andrew McMahon appeared and settled in behind his baby grand piano. A long time coming, Jack’s Mannequin has been elusive for over the past decade. This year, McMahon gathered together with his band for a lengthy tour that celebrates two decades of this project. Comes after the reunification of McMahon’s other project Something Corporate last year, there is a desire in the air for piano led pop punk. He played a historic gig at Red Rocks this past July, in which Andrew McMahon was the opener, direct support, and headliner playing with all of his bands. Andrew was kind enough to sit down with me before his set to discuss that gig, his tv new show in the works “Aught To Be”, and our shared love for The Lonely Island’s movie “Popstar: Never Stop Never Stopping”. Stay tuned for the interview on 89.7 KRUI. 

Weezer came out to the opening of their song “Sheraton Commander” off their 2022 “SZNZ: Winter”, a tune that I’ve yet to hear utilized by the rock veterans before. This creepy and cold orchestration led way into the riff that started it all for Weezer, “My Name Is Jonas”. Weezer blasted through 5 songs from their debut record and kept all 11 tunes from 2008 and before. Fans were treated to a Pinkerton B-Side, “I Just Threw Out the Love Of My Dreams” with guest singers Blondeshell on night one and Lynn Gunn from PVRIS on night two. Anticipation is high among Weezer fans as their 20^th album is well underway. When We Were Young was Weezer’s final North American stop in 2025 as they embark on South American and Australian tours later this year.  

“Breathing deeply and walking backwards” Mark Hoppus made my dreams come true by playing “Roller Coaster” near the end of blink-182‘s setlist. Filled with deep cuts, tunes from their latest album, and the hits that made us say “damnit, that was good”, it was a set that brought smiles to the faces of everybody in the crowd. The boyish banter and spiked hair haven’t changed in over 3 decades of this band, and there seems to be no signs that it will change. I, for one, am happy about that fact. Blink-182 will hit the snooze button as they wrapped up their “Missionary Impossible Tour” with these final Vegas dates and will come out of hibernation at Arizona’s Innings Festival in February. 

Throughout the day on the 7-11 stage, there were small glimpses of the headliner. Right above the screen I could make out a cursive name in lights that held the months long anticipation of the crowd. Slowly it was raised in front of the screen. Throughout all of blink-182’s set, eyes were occasionally drawn to a drum kit being rolled on the adjacent stage and screens that were being tested. Green Day’s Insomniac deep cut “Panic Song” played over the speakers as a countdown appeared on the screen. Fans in top hats and circus attire were waiting all day for this cabaret of lights, dancing, and music.  

The clock hit zero, and the long-awaited return of Panic! At The Disco finally occurred in Las Vegas, Nevada on October 18^th. With a bang and a flash, Brendan Urie and his backing band blew the nonexistent roof off the place sliding from “Introduction” to “The Only Difference Between Martyrdom and Suicide Is Press Coverage”. This landmark 2006 record etched itself into emo history with a speed that very few have ever done before. From its biggest hit “I Write Sins Not Tragedies” to the instrumental “Intermission” and “Introduction”, this record is a journey that I am always dying to go on. When We Were Young was the first time many of these songs have been played in over a decade. Fan favorite “Lying Is the Most Fun a Girl Can Have Without Taking Her Clothes Off” for the first time since 2016, “Build God, Then We’ll Talk” for the first time since 2010, and “Nails For Breakfast, Tacks For Snacks” for the first time since Panic! wrapped its “A Fever You Can’t Sweat Out Tour” in 2007. This was a long time coming for so many fans, and Urie delivered. All thirteen tracks off the record were played, and when its all said and done, we weren’t even halfway through the set by the end of the album play. Sixteen more songs spanning the career of the band were featured as this trip down memory lane extended right up until curfew. With tracks including “Nine in the Afternoon”, “House of Memories”, and a cover of Queen’s “Bohemian Rhapsody”, this was an absolute knockdown set. After playing  their highest charting hit, “High Hopes”, I thought this incredible day had come to an end. To my surprise, the band stayed on stage except for an empty drum kit. “I want to bring my oldest friend out on stage” Urie announced as Spencer Smith, the original drummer for Panic! At The Disco, appeared from stage right. Playing the song that got them into all this, the cello began the opening riff of “I Write Sins Not Tragedies” once again. This was Smith’s first return to Panic! since leaving in April of 2015, and the performance was well worth the decade long wait. With a ceiling of fireworks lighting up the Vegas Strip, Urie and the band took a bow.  

When We Were Young provided everything a person would need, and much more, to have a memorable day at the Las Vegas Festival Grounds. There was a feeling in the air and a glow in the face of all 85,000 attendees on Saturday that said there was no place they’d rather be. Under the shadow of The Strat, we heard all our favorite songs and picked up a few new ones too. A day I will remember forever. I can’t wait to see what rabbits When We Were Young will pull out of it’s hat for 2026. Until then, we will wait with high hopes.  

All photos courtesy of When We Were Young Festival.

The post When We Were Young Recap appeared first on KRUI Radio.

FRIDAY 

I started off Riot Fest 2025 at the main stage to settle into where I would be spending a good chunk of time this weekend. The smell of IPA’s, Bacci’s massive pizza slices, and tens of thousands of other Weezer fans quickly crept into my nostrils. The grass was left a lot longer this year to prevent dust clouds and wood chips were laid over the baseball field avoiding the muddy infield of years past. Preparations were made, the weather was lining up, this all had the makings of a worthy celebration of the 20 years of this festival. In preparation for their November 7^th gig at Gabe’s I checked out Harrison Gordon’s opening set. After releasing their “Spring Break” EP in March and their debut album “The Yuppies Are Winning” back in 2023, this emo powerhouse embarks on their first headline tour. With a crowd that kept pushing farther forward, Harrison Gordon captivated the audience with mosh pits at the early hour of 12:15pm.  

I was able to catch a bit of Loviets set on the way in, I was unfamiliar with them walking into the festival but after hearing them I couldn’t help but stop by. A nice indie rock sound that welcomed all the fest goers into the weekend. The Toronto natives released their newest single “STIFFY” on September 19 and to celebrate we were treated to it’s live debut.

I continued to jump around the stages early in the day, trying to catch as much as I could including a few flavorful songs from Mac Sabbath. On their mission to stop “Drive-Thru Metal”, Grimalice, Slayer MacCheese, Ronald Osbourne and The Catburgalur put together a collection of tunes slightly changed to be about food. After this set I went and grabbed a pulled pork sandwich.  

The Tossers were an unexpected favorite of the day. Somehow, someway, I let an Irish band from Chicago slip through the cracks, but this was remedied as I got nice and close for their all too brief 30 minute set. Cranking through a mix of traditional like “The Rocky Road to Dublin” and songs off their latest record “Smash the Windows”, it was a lovely introduction to the Rebel Stage who would be hosting 2 more Irish bands late that evening. 

Riot Fest favorites The Hold Steady played their 2005 record “Separation Sunday” in full and tagged on a few hits in the minutes remaining. This was a record I had been wanting to hear for a while, and the kind of record that is meant to be heard front to back. Lead singer Craig Finn did an incredible job taking us through the story of him and his “hood rat friends”. You can listen to their latest record, “The Price of Progress” here. 

At 5:55, Jenny Lewis strolled on stage followed by her backing band that make up indie rock legends Rilo Kiley. With an absolutely packed crowd surrounding the Radical Stage and most of the Weird World Stage, the captivated audience enjoyed an hour of their greatest hits for the first time in 17 years. During the final songs I made my way out of the crowd back towards the Rebel Stage where I would wait for The Pogues that night, but on my way I stopped by Alkaline Trio’s full album play of “Maybe I’ll Catch Fire”. Matt Skiba and company captivated me from a distance as I stayed for “Sleepyhead” being played for the first time in a decade and settled in for Stiff Little Fingers.  

Lead singer Jake Burns said that festival slots were usually for the hits, “but because we don’t have any we’re gonna play some deep cuts”. The setlist included The Specials “Doesn’t Make It Alright” and the story about how they recorded their cover of it before The Specials released their own version. As Burns and Co. made their way off stage, in the distance I could hear Knocked Loose tear up the Roots Stage.  

Slowly, a banner with a spilled bottle of rum was raised and the crowd filled in. The Pogues sauntered on stage, 13 and counting, with drinks in hand and smiles on their face. This was their final show on the books, wrapping up their biggest touring year in over a decade. Through thick and thin, original members Spider Stacy, Jem Finer, and James Fearnley were the anchors of The Pogues, carrying it through over 4 decades of rock and roll. Blazing through the tracks off their record “Rum, Sodomy, and the Lash”, the band finished with “Sally MacLennane” underneath blink-182’s fireworks display.  With a bow and a toast, The Pogues walked off stage but couldn’t get far until the persistent crowd called for an encore. A seemingly very genuine encore, the band was scattered throughout and had to corral them all back to fit in the “only other song we know” according to Jem Finer. As words were scribbled down on paper, and musicians discussed what key they were playing this one in, the final song of Friday night began. While the pits grew larger, and seemingly every person was getting crowd surfed to the front, the final notes hit. It began to set in that this was the last we’d be seeing Spider and the band in the states for a while, but grateful for what I had just witnessed.  

I missed a few notable sets, including the one and only “Weird Al” Yankovic headlining his own stage. The crowd was one of the largest of the weekend and captivated an audience that led a calmer opposition to Knocked Loose at the same time. Both led directly into blink-182’s set where they hit six songs off my personal favorite record of theirs “Take Off Your Pants and Jacket” including “Online Songs” and “Roller Coaster”. They brought out blink-182 alum Matt Skiba to sing “Bored to Death” and Stephen Egerton of Descendants made his first of two appearances of the weekend covering his tune “Hope”. Closing with their first big hit “Damnit” off 1997’s “Dude Ranch”, the crowds dispersed until they would meet again 13 hours later.  

SATURDAY 

I arrived to the festival with Wishy’s sound spilling over the sides of the walls with their Indie-ana rock. A good introduction to the indie rock legends Weezer playing “The Blue Album” front to back on the same stage later that night. I bounced around, seeing snippets of a handful of bands like Feral Tact, Girl In A Coma, and Thrown. I explored the over 30 food vendors and settled on a top tier chicken sandwich from Chicago favorite The Publican. It was as good as it is in their restaurant which is hard to come by at a festival, but Riot Fest’s food options were bountiful. I enjoyed that meal while watching Agent Orange run their record “Living In Darkness” front to back. 

I caught a song by California rockers Militarie Gun on my way to get a good spot for Free Throw’s return to Riot Fest after their rained out set in 2023. They played The Metro with fellow Riot Fest rockers Harrison Gordon in April and their quick trip back to Chicago was more than welcomed by a huge early day crowd. After a quick 30 minutes, Free Throw closed with their hit “Two Beers In” as the crowd screamed their lungs out. I made my way back to the main stage to see man of many talents Jason Narducy play bass for Superchunk. The Evanston, IL native makes his return to Riot Fest after his high school band Verböten returned from a four decade long hiatus last year on the Riot Stage. Verböten has made 3 appearances since including opening for one of the godfather’s of punk Iggy Pop at The Salt Shed in March. 

If you like yelling and blood, Gwar and Helmet would be a heartbreaking schedule conflict for you. Overlapping for 45 minutes, I chose Gwar because Helmet lacked theatrical blood. Stirring up controversy by their grotesque prosthetics and on stage fake executions and births, this is the same Gwar that hundreds of thousands have seen in their 41 year career. In a direct contrast to what I just viewed, I went to go see English rockers James play the Riot Stage. An off to wall pick, not due to their McDonald’s themed costumes or hit parody songs, but due to their relatively chill Britpop vibes. Talking to a lot of people, they walked in knowing a single or two from the 90’s and walked away big fans of James. 

I settled in for a night at the main stages, with the back and forth of The Front Bottoms, The Beach Boys, Jack White, and Weezer. The Front Bottoms played their 2015 record “Back On Top” in full followed by 4 songs and closer “Twin Size Mattress” off my personal favorite record of theirs “The Talon of the Hawk”. They just wrapped up a brief tour for the record including an after show on Friday night at The Bottom Lounge. After they wrapped up, lead singer Brian Sella smashed his Fender acoustic-electric into the stage. With remnants of wood and wiring laying peacefully at their feet, The Front Bottoms took a bow.

Earlier in the day, under the churning eyes of the butter statue, the John Stamos look-a-like competition took place in “Riot Land”. It came down to two main competitors as the crowd size grew larger and larger until the judge declared a man in aviator sunglasses, a gray Hawaiian shirt, and sporting a thousand watt smile the winner. Hoping to catch sight of the lead singer of Jessie and The Rippers, he could only be found in one place that day. At 6:20, the screen flashed a montage of The Beach Boys greatest moments as the band made their way on stage. With Stamos face masks in the crowd, mosh pits opening up, and a chant that I can still hear ringing in my ears… Stamos appeared as a godlike figure wearing a leather jacket in 80-degree weather. You would’ve thought an earthquake had occurred as these thunderous celebrations of Uncle Jessie’s mere appearance rattled through Douglass Park. I saw a crowd surfer with an inflatable surfboard and another with a giant cardboard cutout of Stamos’ head. The Beach Boys played 19 songs off their impressive back catalog, including 3 tracks off arguably the greatest album of all time “Pet Sounds”.  

I was slightly let down at the lack of a tribute to the recently passed Brian Wilson. Being the heart, soul, and brains of the band, I thought there should have been a big mention of him but there lacked any representation of the founding member. Stamos even did a tribute to fellow “Full House” cast member Bob Saget who passed away in 2022. It was a tough pill to swallow as a huge fan of The Beach Boys. The performance left a sour taste in my mouth but if this iteration of the band can get another 13-year-old Logan to listen to “Pet Sounds” on repeat, it might be worth it. If you are searching for a more Brian Wilson focused band, former Beach Boy Al Jardine has taken most of Brian Wilson’s backing band in his new group, Al Jardine’s Pet Sound’s Band. They play through all the greatest Beach Boy’s hits still, with a little more of an emphasis on the song writing and composition that Brain Wilson brought to the group.

The generational talent that is Jack White took the stage next. Starting with a ferocious cover of The Stooges “T.V. Eye”, White took every second of his time on stage to tear through his set. While ripping on his guitar he asked the crowd if they “want fascists in control” to which the crowd defiantly shouted against. White said “that’s right, rock and roll is in control tonight”, as he continued setting the stage on fire. Playing four songs from his solo project, 6 from The White Stripes, and 2 from The Racounteers, there was not a second to catch your breath. It was incredible seeing Jack tell his band on stage what song he was gonna play, start the riff, and all of them to follow as if they had been playing the same set for decades. It was like staring up atop Mt. Everest to see a man with a Telecaster searching to see if there are any taller mountains to scale. There were no games, no big camera tricks, no massive inflatables. Just Jack and his band. The side screens showed a black and white live feed from a handful of angles, with the back screen completely black. You couldn’t focus on anything other than the music even if you wanted to. White finished with his biggest hit of his career, “Seven Nation Army” from The White Stripes record “Elephant”. Letting the crowd do the work leading into the final verse, the ensemble of festival goers echoed the iconic guitar line. A mainstay in American culture, and so iconic you can hear it now just thinking about it. White’s impact and performance are larger than life. He finished with the words “You’ve been incredible, and I’ve been Jack White”. Lights out.  

With a story, theatrics, and a planet needing saving, Weezer put on their final show of their expansive “Voyage to the Blue Planet” tour. It was an older setlist, starting off with the hits like “Island in the Sun” and “Pork and Beans”, some Pinkerton deep cuts, and finishing with the Blue Album in its entirety. This 21-song set ended with “Only In Dreams” and it’s blazing 4-minute-long solo underneath a fireworks display. It’s moments like that where you pinch yourself and ask if what you’re seeing and feeling is real. There are always times when I am moved by live music, especially at festivals. But standing there watching the final crescendo slowly fade out into that iconic bass line and ultimately drowned out by the sound of cheers, it is an experience that soothes the soul. Weezer has played the Blue Album 3 times at Riot Fest, and there is a reason for that. It’s a no skip album. Filled top to bottom with ear worms that have been mainstays in Riot Fest fans rotations for decades. I’m always eager to see Weezer play, and such a special show celebrating their debut was a joy to watch. 

I missed some great sets throughout Saturday including the back and forth of the Rise and Radical Stages. Hometown heroes Knuckle Puck playing their record “Copacetic” in full, then handed it over to Celtic Punk legends Dropkick Murphys. Running through 5 tracks off of their new record “For the People” and the rest of the hits you would want to see from the Boston favorites. The speakers were once again relayed next door for All Time Low to close out the duo of stages for the night. Over at the Rebel Stage, classic punk bands took the helm as Marky Ramone, The Buzzcocks and The Damned tore through their sets. With time extensions granted for a them in lieu of Frank Carter and The Sex Pistols cancellation, the bands made the most of the additional minutes. Arguably the busiest day at Riot Fest 2025 adjourned to continue the final chapter of the festival tomorrow.

SUNDAY

My day started a little later, as many 3-day attendees did as well. Between the running from stage to stage to standing for almost the entirety of the day, the body and immune system take a substantial hit. I was able to catch the tail end of The Smoking Popes play “Born to Quit”. That led into the punk duo Soft Play on the neighboring Radical Stage which was my first real introduction to them. Spending a healthy mix of time on stage, in the crowd, and sprawled over the barricade, Soft Play made a fan out of everyone who was within earshot.  

I continued my stage hopping to the Roots Stage to see Pegboy run through “Strong Reaction” and then over to the Rebel Stage to see The Ataris play “So Long, Astoria”. They would stick around Chicago, playing a surprise free set at The Cubby Bear the following night. There was an incredible difficult conflict with some of the best female led bands in the music world right now. All overlapping at different times were The Linda Linda’s, Lambrini Girls, and Dance Hall Crashers. I had the pleasure of seeing The Linda Linda’s open for Green Day last summer, so I took the opportunity to catch one of the hottest punk bands in the world, Lambrini Girls. Phoebe Lunny led the Brighton based group through a whirlwind set, and by the time their 30 minutes were up, you were shocked they weren’t given more time. When Lambrini Girls finished, I was still able to catch the final songs of Dance Hall Crasher’s return to Chicago. After their 21 years off of touring, they made their return for select Warped Tour dates and 3 others throughout the summer. I’m thankful I avoided a full Riot Fest without ska.  

I was hoping to catch a bit of Hanson but the technical difficulties the Riot Fest gods had other plans. As another unconventional pick, I was intrigued to see what the turn out would be, and it was massive. Sprawling all across the hill and farther back than most sets I’ve seen at the Rebel Stage, anticipation quickly grew into frustration as the minutes dragged on. I decided to leave after about 15 minutes to catch some songs by Microwave. A great live band that is always touring, I highly recommend. Once the Rebel Stage figured out their problems, Hanson only got to play 6 songs but threw in some curveballs. They brought out, for the second time in one weekend, Stephen Egerton of Descendants to play “Hope”. Now considering Egerton joined two bands on stage throughout the weekend to play this song I probably would have seen either of them. Nope. I missed both. I also missed Descendants set in 2024 due to another conflict. I wonder if I’ll ever see the band at this point.  

I settled in at the Riot Stage for the night, with a lineup of Bad Religion, Idles, Jawbreaker, and Green Day, it was a no brainer. I was disappointed to miss out on Texas Is the Reason, The Wonder Years, and Inhaler, but tough decisions have to be made. I knew my opportunities to see Jawbreaker are limited, and knowing this was Idles last date on the schedule put my mind at ease with the decision. Bad Religion was electric, hitting 9 of their hits before plunging into their 1988 record “Suffer”.  High paced and proving they still have much more left in the tank after 45 years.  

Idles. If you have not listened to Idles. Listen to Idles. My new favorite band out of the weekend, Idles put on an incredible set with an invasive relationship with the crowd’s personal space. Whether it be the music, or themselves, Idles found every single person in the crowd, spun them around, and implanted a song in their mind. I had educated myself a little going into their set, I enjoyed their song with LCD Soundsystem “Dancer”, but that was about it. Until they grabbed me by the shoulders and shook me until I added the rest of their set to my playlist. Joe Talbot is an eccentric and intoxicating front man, stirring up a constant ruckus in the crowd. He has humility though, allowing lead guitarist Mark Bowen to frolic around the stage shirtless with an objectively impressive mustache. The selflessness doesn’t stop there, as they made room of the unparalleled Jack White to shred on their tune “Never Fight a Man with a Perm”. That was the first of two collaborations Idles hosted on their stage as Soft Play accompanied for a rambunctious edition of “Rottweiler”. Sandwiched in between these two larger than life tunes was Idles’ only cover of their set, “All I Want For Christmas Is You” by Mariah Carey. Although it was just over 3 months until Boxing Day Eve, it made me wonder why more bands don’t cover this song. Everyone knows it, everyone loves it, why not? A pleasant surprise to say the least. Idles is a can’t miss gig.  

Jawbreaker followed dusting off their collection of tunes. There hasn’t been any new releases from the bay area natives since their 1995 record “Dear You”, so although hitting 4 tracks off the latest LP, you would have had to be well over 35 to remember its release. Legendary Chicago producer, the late Steve Albini worked hand in hand with Jawbreaker for their 1994 record “24 Hour Revenge Therapy”. Albini had an impressive resume, including working with The Pixies on “Surfer Rosa”, Nirvana on “In Utero”, and a slew of other bands including The Jesus Lizard, PJ Harvey, and 2025 Riot Fest players Superchunk. Jawbreaker kept their set brief and loose, playing through 12 songs having to cut the final tune “Kiss The Bottle” for time constraints. This was the first time Jawbreaker and Green Day have shared the same bill since September 4^th, 1991 at the Davis Teen Center in Oakland. Riot Fest has been a special place for Jawbreaker, it was a major catalyst for their reunion in 2017, as this is their third time returning to the festival since. While listening to their set, you quickly realize how many bands you’ve listened to that have taken a bit or piece from Jawbreaker. Whether it be the little hooks that Jimmy Eat World built “Bleed American” on or the vocal punch of Fall Out Boy, there are strands of Jawbreaker bleeding from each one.  

With Queen’s “Bohemian Rhapsody” drenching the speakers, the final band of Riot Fest 2025 was about to take the stage. You couldn’t have written a better ending for the festival. Starting with 2 nights in November of 2005 at the 3,500 capacity Congress Theatre, Riot Fest evolved into a sold out, 3-day long, park-wide festival housing the biggest bands in the world. I think Sunday’s headliner combination really showcases how Riot fest has grown and retained its thesis at the same time. Having the final two slots played by a “truly punk”, underground, never signed to a major label band in Jawbreaker and the other played by a band that has headlined Coachella, Lollapalooza, and every major stadium and festival in the world. They expanded, and held on to themselves staying completely independent. They whole festival has my utmost respect. 

Billie Joe Armstrong, Tre Cool, and Mike Dirnt ran on stage tailed by Kevin Tyler Preston, Jason Freese, and Jason White. These gentlemen make up Green Day and its touring band. One of the very final dates of their length “Saviors World Tour”, Armstrong and company blasted through their monstrous reserve of songs. Hitting tunes from their most recent record “Saviors”, along with the song “Going to Passalacqua” off their first full length release on Lookout Records “1039/Smoothed Out Slappy Hours” from 1991. This performance was a well-deserved victory lap for the band. The 4^th to last gig on Green Day’s extensive tour spanning 106 shows, 88 cities, and 33 countries, but they preserved their infectious energy from the very start of the tour. Playing a handful of deep cuts like “The Grouch” from 1997’s Nimrod, “She” from Dookie, and the rarely played “Revolution Radio” from the album sharing the same name, they gave a lot to the hardcore fan. 23 songs and countless “Hey-O’s” later, the final G chord of “Good Riddance” was strum. Fireworks painted the sky, confetti fell with the final gusts of the summer wind, and Billie Joe sang the first verse and chorus to “Chicago (That Toddlin’ Town)” by Fred Fisher. A heartfelt ending to my favorite weekend of the year. Tre Cool brought out a bucket of sticks, tossed some amongst the crowd, and then the bucket soared onto his zebra printed Ludwig drum kit. The night, and festival, had come to an end. 

Riot Fest makes me fall in love with music over and over again. Whether it be lifelong favorites of mine like The Beach Boys and The Pogues, or fresh groups like Harrison Gordon and Knuckle Puck, I keep finding myself smiling like a kid on Christmas watching these bands. I am looking forward to next year’s festival, what headliners they’ll grab, the smaller acts I’ll fall in love with, and surprises they have in store. Riot Fest is idiosyncratic, and I feel so lucky to have it right next door. You can hear more about my experience with Riot Fest on “Downey’s Hour”, Monday Nights from 9-11pm.

Cover Photo: Anthony Linh Nguyen

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