Author Archives: Judie Vegh

The Last Dinner Party made their Cleveland debut to a sold-out Agora on April 6, bringing their From the Pyre tour to full theatrical life. Already known for opening slots with NBD artists like The Rolling Stones, Hozier, and Florence + the Machine, the band proved they’re more than ready to headline.

Their set felt like stepping into a fever dream of romantic literature and gothic drama with arched staging, draped fabrics, and a looming church bell framing songs that blur desire, tragedy, and wit. Despite the absence of bassist Georgia Davies, who is recovering from a serious back injury, stand-in Max Lilley kept the momentum high as the crowd scream-sang along.

Frontwoman Abigail Morris commanded the room with ease, balancing theatrical flair with genuine charm. Her dedication of “On Your Side” to Davies was a standout moment, while “Agnus Dei” sparked a playful Ohio call-and-response that the crowd eagerly embraced. (The banks of the Ohio River are 100 miles away at its closest point to Cleveland, but we appreciated the sentiment.)

Backed by tight performances from Lizzie Mayland, Emily Roberts, and Aurora Nishevci, the band delivered a set that was both polished and unhinged in the best way. Opener Florence Road set the tone with lush shoegaze rock which was a great complement to the night.

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“Do you want to see Lacuna Coil?” my 77-year-old father texted me. At 43, I didn’t have that on my bingo card.

I’ve been listening to Lacuna Coil since high school; the gateway to my goth years of clove cigarettes and dimly lit clubs. Meanwhile, he’s been on a symphonic metal kick—Within Temptation, Nightwish being some of his favorite bands of all time—which eventually led him to metal songstress Cristina Scabbia of Lacuna Coil. Full circle, just… decades later.

The Globe Iron doesn’t do distance. The room was tight, loud, and already buzzing by the time Australia’s VOWWS set a moody, industrial tone. Escape the Fate followed with chaotic, high-octane energy that felt like it might spill off the stage.

Then Lacuna Coil took it.

Opening with “Layers of Time,” they didn’t ease in; they hit. Scabbia and Andrea Ferro moved like counterweights. Her voice cutting clean and soaring, his grounding everything in grit. Older tracks like “Heaven’s a Lie XX” and “Swamped XX” landed like muscle memory, while newer cuts (“Oxygen,” “In Nomine Patris”) leaned heavier, colder, more deliberate.

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It took over four decades, (48 years to be exact, on November 29, 1976 at the Agora, fittingly), but Sparks finally returned to Cleveland and delivered a show that was eccentric and absolutely worth the wait.

Originally scheduled for TempleLive, fans feared the worst when the venue abruptly shut down, fired its staff, and canceled all events just weeks before the show. But the Cleveland Agora came to the rescue, and on Monday night, it hosted a performance that felt equal parts victory lap and cult revival.

Ron and Russell Mael, now deep into their legendary career, pulled from 13 of their 28 albums (!!) in a career-spanning set that proved they’re still pushing boundaries and having fun doing it. Despite their age, Sparks gave it their all, blending synth-pop weirdness, razor-sharp wit, and a kind of surreal showmanship that only they could pull off.

Favorites like “JanSport Backpack,” “Lord Have Mercy,” “Whippings and Apologies,” and “All You Ever Think About Is Sex” brought cheers from the crowd. The extended bows, both before and after the encore, were heartfelt and heavy with meaning. And while Russell offered a hopeful “we’ll try to come back,” it was hard to shake the feeling that this might have been a once-in-a-lifetime night.

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Don’t think of it as goodbye, think of it as “so long for now.”

On Friday night at the Agora, ’90s alt-rock mainstays Garbage delivered an emotionally-charged performance as part of their aptly named “Happy Endings” tour. With this being their final headlining run, the night felt like more than just a concert. It was a love letter to fans, a career-spanning celebration, and a graceful bow from a band that helped define the ’90s alternative music scene.

Frontwoman Shirley Manson commanded the stage with the same snarling energy and magnetic presence that’s carried the band for three decades. Backed by longtime bandmates Duke Erikson, Steve Marker, and legendary drummer Butch Vig, alongside touring bassist Nicole Fiorentino (Smashing Pumpkins and Veruca Salt), Garbage powered through a generous 21-song setlist that blended hits with deep cuts and tracks from their latest album, Let All That We Imagine Be the Light.

Between songs, Manson was candid and funny; dropping quips about aging and reminiscing on the “good old days.” But as she strutted across the stage, voice sharp and defiant, it was hard to see anything old about it. They’re still kicking ass. And that’s what makes their decision to step away from touring bittersweet. It doesn’t feel like a slow fade, it feels like a conscious choice to go out on a high note.

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On Sunday night, after Against Me! played a killer 20+ song set, I thought it appropriate to wait outside for about 2 hours for a chance to meet the band. How many times in my life was I going to be able to meet a band I respected so much and had followed for years?

The buzz from the show was still ringing in our ears and in our veins as people perched on the sidewalks near the tour buses. When Laura Jane Grace finally came out, she was greeted with hugs, gratitude, and stories of personal turmoil and bravery. Inge Johansson and Atom Willard also came out to greet fans. When asked how he felt about the Cleveland crowd, Willard said, “This crowd, the energy was so high… you could feel it, you know? And we’re really receptive to that.” This was a perfect explanation of the night, because both the audience at the House of Blues and Against Me! gave it their all.

Donning a “Gender is Over” tank, Against Me! frontwoman Laura Jane Grace took center stage, her powerful presence invoking deafening hollering from the crowd and clenched fists pumping in the air as the band opened their set with “Unconditional Love.” Grace beamed at the throng letting the cheers soak in and energize her—wide-eyed and wild-haired, strumming her guitar as she paced the stage. Bassist Inge Johansson and drummer Atom Willard matched Grace’s intensity while guitarist James Bowman took a calmer approach.

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