Author Archives: Special to TVD

TVD Live Shots:
The Fixx with Ozomatli at the Belasco, 7/29

WORDS AND IMAGES: DANIEL GRAY | New wave. Art rock. Synth pop. Rock. Take your pick because it’s been hard to define the music of The Fixx. As much as they have been labeled an “’80s band,” they still make new music, and more than half their album output comes from the ’90s and 2000s. But still, they seem to be products of the Reagan era, and the multitude of videos played on MTV, shot in the style and look of the day, helped freeze them in time for the casual audience. But The Fixx fans know better.

Playing to a packed house at the Belasco in downtown Los Angeles, The Fixx took the stage and opened with “Beautiful Friction,” the title song from their 2012 album. Out of their first four songs, only “Stand or Fall” was from the 1980s. And while, without a doubt, many in the audience were there to hear the hits, which include four top-twenty tunes, The Fixx was out to play a range of songs from their vast repertoire and not pander to any era.

Truthfully, the night was all the better for it. Because the band are better musicians and Cy Curnin is a much deeper lyricist than standard definition music videos can convey. The quintet featured the “classic” lineup of Cy Curnin on lead vocals, Jamie West-Oram on guitar, Rupert Greenall on keyboards, Adam Woods on drums, and Dan K. Brown on bass.

Curnin is tall and lean, and the all-white suit he wore only enhanced a theatrical nature that has a bit of David Bowie and David Byrne to it. He doesn’t just sing songs, he performs them. Curnin is easily the most animated of the band, with Greenall and Woods naturally remaining behind their respective instruments, and the nattily dressed Brown, complete with a top hat, staying anchored in place while playing bass.

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TVD Live Shots: Vans Warped Tour at the Shoreline Waterfront, 7/26

WORD AND IMAGES: MATT MARTINEZ IN LONG BEACH, CA | The return of Vans Warped Tour in 2025 brought together Warped Tour veterans and many bands that would have sharpened their teeth as performers on these stages, had Warped Tour never gone on hiatus. With the success of this mixing of bands last year, Kevin Lyman has continued that ideology with this year’s lineup. We have some returning fan favorites and a slew of bands that have never graced the Warped Tour stage until now.

The Vans and Off the Wall stages were the biggest on-site and hosted some of the most legendary bands in Warped Tour history, giving them some of the longest set times of the day. Some other favorites included: Mayday Parade, Taking Back Sunday, Third Eye Blind, The Used, and Papa Roach.

The Ghost and Beatbox stages hosted many bands that built their careers at Warped, as well as up-and-coming bands leading the charge for the new Warped Generation. Featuring bands like: The Academy Is…, Drain, Silverstein, Hawthorne Heights, and many more.

The Verizon, Doordash, Rex, and Octopus stages were a mix of genres, with pop punk bands, metalheads, hardcore kids, and everything in between. If you want to experience some new music for yourself, you could find it here. Featuring bands like: Daisy Grenade, Origami Angel, Jiluka, The Paradox, The Ataris, Meet Me @ The Alter, Hot Milk, Save Ferris, and so many more bands playing tight 30-minute sets.

Now that the festival is 30 years old, there’s a feeling of passing the torch, as you could see plenty of parents bringing their kids to experience a festival that has always held such a strong place in their hearts. Many of these kids seem to have been born after Warped Tour first ended in 2019, but their parents introduced them to music that will live on through them.

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TVD Live Shots: Vans Warped Tour at the Shoreline Waterfront, 7/25

WORD AND IMAGES: MATT MARTINEZ IN LONG BEACH, CA | There is no more famous festival than the Vans Warped Tour. Started by Kevin Lyman in 1995, the festival aimed to give a stage to punk, ska, hardcore, metal, and alternative bands. It quickly became a household name as the biggest summer traveling festival, and after 24 years, Warped Tour came to an end in 2019.

However, in 2025, Warped Tour was brought in a new format. It was now a two-day festival with only three locations. After the success of its return last year, Warped Tour announced it will return in 2026, maintaining the two-day format and now including shows in Mexico and Canada. Southern California has always been a fan favorite, and Warped Tour invaded Long Beach, CA, where fans showed up to show their love for this festival.

Walking through the gates of Warped Tour was like walking through a time capsule. On the other side of security were a plethora of fans throwing it back to their high school days, with all the older emos bringing back their dyed hair, raccoon-tail hairstyles, and black-and-white checkered clothing as far as the eye could see.

You even saw the new generation of kids and teenagers going full scene-kid looks, showing that this style can still work across generations. You also had the punks showing up with liberty spikes, many people wearing costumes, and battle vests showing off fans’ favorite bands. This was a melting pot of counter culture, and we had music to unite us.

Like usual, Warped Tour does not announce the set times before the show. At 11 AM, fans gathered around the Warped Wall as Kevin Lyman dropped the curtain on the legendary inflatable that holds the schedule of the bands for the day. Fans mobbed the site to take pictures of the set times while they frantically planned their day on the spot.

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TVD Live Shots: The Old School Cruise, Ensenada and Cabo San Lucas, MX, 4/25–4/28

WORDS AND IMAGES: SEAN McKRACKEN | Picture this: the sun dips into the Pacific, a rum punch sweats in your hand, and somewhere on the lido deck, WAR rips into the opening notes of “Low Rider” while eight thousand fans, arms in the air, belt every word back at the band. That is not a daydream. That is a Tuesday on the Old School Cruise, and after sailing back-to-back voyages this past April, I can tell you with full confidence that this is the most fun you can legally have on a boat.

At the end of April, Concert Cruise Events ran back-to-back sailings of the Old School Cruise—the first, a three-day trip to Ensenada, and the second, a five-day run to Cabo San Lucas. Between the two cruises, roughly 8,000 fans were partying and soaking in one of the most unique music experiences around. By the time the gangway closed on the second sailing, most of us were already plotting how to get back on board for the 2027 voyage.

As you board either of the two cruises, the trip kicks off with a party in the Atrium where cruise staff pass out rum punch so everyone can start the party off right. As we pulled away from port, WAR launched the cruise with every hit they’re known for, including “Low Rider,” “Why Can’t We Be Friends?” and so many more. Later that night, Lisa Lisa, Heatwave, Bloodstone, Club Nouveau, and The Intruders kept the party going late into the night. The final show of the evening was a fun, intimate set with Big Mountain.

The next morning started early with the Funky Brunch, where the Mike Torres Band played covers while everyone tucked into mimosas and ocean views. Daytime sea-day performances included Club Nouveau, who were joined by nine-year-old Oliver Kai—a kid who absolutely killed a cover of Prince’s “1999.” Other old-school favorites that played that day included Lighter Shade of Brown, Bloodstone, and many more.

Day three of the first cruise was the stop in Ensenada. Things kicked into high gear later with The Miracles, followed by Keith Sweat in front of a crowd that was packed wall to wall. The rest of the night rolled on with sets from WAR, Trinere, and more.

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TVD Live Shots: Sick New World Festival at the Las Vegas Festival Grounds, 4/25

WORD & IMAGES: MATT MARTINEZ | Sick New World returned to Las Vegas, NV, for its third official installment, after an unfortunate cancellation of last year’s festival. Sick New World is a heavy metal festival that favors the nu metal and industrial side of the genre, featuring approximately 50 bands performing across four stages in a single day, with nonstop music and excitement. Metal fans descended upon Las Vegas for another year to raise heavy metal hell in Sin City.

Doors opened at 10 am for fans to enter the festival grounds, and we were held in one of the main food court areas for a short while while they finished setting up. While we waited, stilt performers and The Street Drums Corp performed under the iconic welcome arch to keep fans entertained before the music started. At 11 am, the ropes dropped, and fans quickly ran towards the stages they planned to camp at for the entire day, to be as close to the headliners as possible.

The four stages, all featuring the bands, were the Green and Purple Stages, which were our headline stages, as well as two side stages, the Diablo and Spiral Stage. Kicking off the entire festival was Los Angeles locals Speed of Light on the Purple Stage. I was fortunate to see them a couple of years ago on a small club stage in LA, and I was excited to see the recognition they were getting, being trusted to open the entire festival.

The Diablo and Spiral stages featured continuous bands and were positioned so that the music from one stage never overpowered the other. The Diablo stage features the heavier side of Sick New World, with hardcore, beatdown, and metalcore bands sending fans into an intensely raging circle pit throughout the day. Some of the featured acts included Flatwounds, Showing Teeth, The Dark.FM, Bloodywood, Norma Jean, Speed, Sunami, Health, Terror X Pain of Truth, Wage War, Poison The Well, and closing out the stage was Underoath.

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TVD Live Shots: Holo Holo Music Festival at Great Park Live, 4/18

WORDS AND IMAGES: SEAN McCRACKEN | There is a specific kind of afternoon that only island reggae can build—warm sun, grass underfoot, a horn section drifting over a picnic blanket, and a whole field of people who look like they have no interest in being anywhere else. That was Great Park Live in Irvine on Saturday, April 18, where the Holo Holo Music Festival rolled through town for a lineup stacked top to bottom with heavy hitters of the genre.

Headliners The Green and SOJA brought the full weight of modern island reggae to a 10,000-capacity crowd, but the real story of the day was how much depth sat underneath them. Iam Tongi, Three Plus, Joseph Soul, and Bo Napoleon each turned in sets that could have anchored a smaller festival on their own. If you love this genre, this was the room to be in.

Great Park Live turned out to be a great place for the festival to land. Fans had the run of the field—spread out on a blanket, hold the rail for a full-stage view, or drop into one of the chairs the venue provided. The warm spring afternoon did the rest. By the time the first act took the stage, the grounds already felt like a backyard party that just happened to have a professional stage at one end of it.

Bo Napoleon opened the day and set the tone immediately, easing the crowd in with “Alcoholic” and “Nice to See You Trying.” What most of the crowd may not have realized is that when he closed his set with “Wade in Your Water”—a song widely associated with Common Kings—he was playing his own song. Napoleon wrote both “Wade in Your Water” and “Alcoholic” for Common Kings back in 2010, and those songs helped earn them a Grammy nomination. Hearing the songs delivered by the man who put them on paper, in a warm afternoon slot at an island reggae festival, was one of those low-key moments of ownership that reward the fans who know the history.

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TVD Live Shots: Ballyhoo! with Artikal Sound System and Tobyraps at XL Live, 3/7

WORDS AND IMAGES: TODD JUDD in HARRISBURG, PA | Three acts, one sold-out room, and a night that had absolutely no chill from start to finish. Tobyraps set the tone early—a rapper doing push-ups mid-verse will do that—before Artikal Sound System locked down the room with thick riddims and Logan Rex’s powerhouse vocals, leaving the crowd in disbelief. Then Ballyhoo! did what Ballyhoo! does best: delivered their signature chaotic, high-energy party that reminded everyone in the building exactly why live music is worth every penny.

The night’s music kicked off with Tobyraps (real name Ryan Tobbe), and I’ll admit I hadn’t heard his music before. That quickly changed. Toby is a rapper, songwriter, and motivational artist from Cleveland, Ohio, known for his upbeat, community-focused music and freestyle skills. His style has been described as Lil Dicky meets Watsky, and that comparison fits well.

He had the crowd engaged from the start—dropping push-ups, sit-ups, and sprinting across the stage while delivering his verses. His energetic performance and playful flow made him the perfect warm-up for what would become a great night of music.

Next up was Artikal Sound System (A.S.S.). Chris Montague, Fabian Acuña, and Christopher Cope came running onto the stage with a hilarious, choreographed dance to the cheers of the crowd. At the same time, Adam Kampf stepped behind the drums and Logan Rex strolled onstage as the band launched into “Self Sabotage.”

I’ve seen A.S.S. twice before, both times at festivals—Cali Vibes and Reggae Rise Up—so I was excited to experience them in a more intimate venue like XL Live. The question was whether their high-energy festival performance would translate into a smaller room. It absolutely did.

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TVD Live Shots:
Lynch Mob at the
Grand Theater, 2/21

WORDS AND IMAGES: DANIEL GRAY | While on a mini Mr. Scary tour, George Lynch and Lynch Mob took over the Grand Theater in Anaheim for an energetic Saturday night show.

As most people know by now, Lynch Mob seems to have a rotating cast of characters, with George on guitar and Jaron Gulino on bass as the current mainstays. This evening, the band featured Andrew Freeman, frontman for Last in Line, the Dio supergroup, on vocals. Freeman has also played and toured with Lynch Mob often, so that he can deliver any of the songs with ease. On drums was Jimmy D’Anda of BulletBoys fame, who has toured and played with Lynch Mob many times over the years as well. So, Saturday night was a power-packed line-up capable of delivering both Lynch Mob and Dokken music with great facility.

The first surprise of the evening was George coming on stage with an EVH Frankenstein. As he tore into “River of Love” from the first Lynch Mob album, seeing Lynch with the iconic red, black, and white striped pattern was pretty cool. Watching Lynch’s fingers tapping and flying across the fretboard, it looked ultra badass. But it wasn’t just a one-off or stunt. He kept playing the Frankie for “Hell Child” (also from the first Lynch Mob album) and the breakneck Dokken tune “Tooth and Nail.”

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TVD Live Shots: Don Broco with Dropout Kings and Sace6 at the Wiltern, 1/31

WORDS AND IMAGES: MATT MARTINEZ | It had been two years since English pop rock band Don Broco had been back to the United States, but they decided to start the year with a short two-week tour, hitting the west side of the United States. Making a stop at The Wiltern in Los Angeles, fans were excited to rock out to the hard-hitting, uplifting songs that Don Broco has become known for. This was quite a show and one that I won’t soon forget—the perfect way to kick off 2026.

Don Broco picked two stellar bands to help open the show and get fans’ heartbeats pounding: Sace6 and Dropout Kings. Sace6, an alternative pop duo from New York, got the night started. Fronted by vocalist Sace, his high tenor vocals rang angelically in the ears of the fans. Guitarist Noah Thomas added a hard edge to Sace6’s sound with his distorted guitar tone and screaming vocals, which were layered with Sace. Sace6 even brought out guest vocalist, Showing Teeth, for “Said and Done,” which added a unique dimension to the show. Sace6 mixed melodic and scream vocals and instrumental melodies to give us a robust set that made many new fans in Los Angeles.

Dropout Kings took the stage next with the energy of a five-year-old who just ate too much candy. Co-vocalist William “Black Cat Bill” Lauderdale was as animated as an anime character—dancing, bouncing, and running across every inch of the stage. I’m surprised the man didn’t jump into the audience. Fellow co-vocalist Rob Sebastian worked the whole stage with a swagger like he owned the place, while guitarist Chucky Guzman was a bunny rabbit jumping around the stage, and a grin on his face that showed how much he loved performing for us. The sugar rush Dropout Kings gave us was a musical high I can’t wait to experience again.

It was then time for our headliner, with Don Broco taking the stage. Kicking their set off with “Cellophane,” this was a pulse-pounding way to start the show. Fans were singing, losing their minds, and jumping along with the beat of the song. If you were up on the balcony of the theatre, you could feel the balcony swaying with the force of the fans jumping. We had all instantly entered a musical high within moments and couldn’t be happier to be anywhere else than seeing Don Broco performing live again.

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TVD Live Shots: 2026 Metal Hall of Fame Ceremony at the Roxy Theatre, 2/21

WORD AND IMAGES: DANIEL GRAY | Hall of Fames are an interesting proposition. Who deserves to be in? Who’s getting left out? Who’s making the decisions? It’s even trickier in music. There are so many genres and so many fan favorites. So, perhaps righting certain wrongs and bringing legends and players back into the spotlight is where the Metal Hall of Fame comes in.

The 2026 award show was fittingly on the Sunset Strip, where many of the evening’s performers and inductees left their mark. The celebrity-filled red carpet was at the Rainbow Bar and Grill, and the induction and performances were held at The Roxy Theatre. Overall, it was a fantastic spectacle highlighted by newly minted inductees Rikki Rocket, Tracii Guns, Chris Holmes, Warren DeMartini, and Gilby Clarke.

The evening got into full swing with two already inducted members of the Metal Hall of Fame, guitarist Chris Impellitteri and vocalist Graham Bonnett. They opened with the classic, “Since You’ve Been Gone,” and then did the title track from the Impellitteri album Stand In Line. The hosts, Eddie Trunk and Cathy Rankin, came out to salute metal, the inductees, and get the evening going. Guitarist Impellitteri returned, only this time with vocalist Dino Jelusick, bassist Jeff Pilson (who had to sit on a stool due to a torn meniscus, still very metal), keyboardist Ed Roth, and drummer Ken Mary for a “Crazy Train” tribute to Ozzy. The next performance was a Whitesnake tribute with superstar Doug Aldrich on guitar, Sean McNabb on bass, and Jelusick and Mary staying on.

The first induction of the night was Rikki Rocket. Rocket was actually listed as part of the 2025 ceremony, but couldn’t make it due to the fires in his area last year. His performance featured Britt Lightning on guitar for Poison’s “Look What the Cat Dragged In” and “Talk Dirty to Me.”

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TVD Live Shots:
Foo Fighters at the
Kia Forum, 1/14

WORDS AND IMAGES: DANIEL GRAY | The Foo Fighters’ sold-out show at the Kia Forum was a benefit. It was a birthday party. It was a mini tribute. It was all of those things and more. The benefit was for Hope United, a pairing of the Foo Fighters and two of the leading providers of homeless services, Hope the Mission and LA Mission. The birthday party was for Dave Grohl, who turned 57 on Wednesday. And the mini tribute? Well, that was for guitarist Pat Smear. Regardless of reason, the Foo Fighters’ performance on Wednesday night was electric and one incredible way to kick off 2026.

Smear was absent from the show due to what’s being referred to in a very Spinal Tap-esque way as a “bizarre gardening accident.” A video of Smear on his couch, foot in a cast, started the show, wishing Grohl a happy birthday. But while Pat Smear may not have been playing, his presence was felt for the entire concert. The first song of the evening, “My Hero,” was dedicated to him, and his face was on the bass drum of Foo’s new drummer, Ilan Rubin, formerly of Nine Inch Nails.

After that, Dave Grohl and the band were off and running. Literally. The show was in the round, and even though the stage rotated 360° to face every part of the arena, Grohl still did lap after lap around the entire stage. He may be 57, but he could be the youngest 57 ever. The beard and hair may be graying a bit, but the gigantic smile is as youthful as ever.

He addressed his age by having the audience scream like a 57-year-old having the time of his life. The Forum absolutely exploded. Late in the show, after sprinting the stage, he said it wasn’t normal for a 57-year-old man to do that. He then grabbed his left arm and faked a heart attack. He also let the audience know that, about two hours into the show, he hadn’t gone to the bathroom.

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TVD Live Shots: Billy Strings at ACL Live at the Moody Theater, 12/14

WORDS AND IMAGES: DANA WALSH in AUSTIN, TX | The air was electric, the crowd buzzing with anticipation, and the stage set for an unforgettable evening. Billy Strings brought his signature blend of bluegrass mastery and heartfelt storytelling to ACL, delivering a performance that felt as intimate as a front porch jam session and as grand as a theater spectacle.

From the moment the first note of “Ridin’ That Midnight Train” filled the room, the audience was transported into a world of raw emotion, impeccable musicianship, and a connection that only live music can create. This wasn’t just a concert—it was an experience, a celebration of music, memories, and the magic of being present in the moment.

Billy Strings playing at ACL was a night to be remembered. Just arriving at the show was an experience all on its own, but the music he and his band delivered, along with the way the show was set up, was nothing short of spectacular in the most simple, down-to-earth kind of way. It didn’t matter where you were in the theater; it felt as though you were sitting across from them in his living room or on his front porch while he and his buddies were having a good time playing music. It felt free and personal at the same time.

Before I arrived, I already knew there would be a large crowd waiting to get in, and I was right. Except, they weren’t just people waiting for a show; I would have to say that most, if not all, were hardcore Billy Strings diehards. Of any show I have ever gone to in my life, I saw more pure joy and excitement than I have ever witnessed. It was beautiful and so exciting to be in that vibe.

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TVD Live Shots:
Joe Bonamassa at
ACL Live, 11/22

WORDS AND IMAGES: DANA WALSH IN AUSTIN, TX | Joe Bonamassa’s set at ACL Live flowed effortlessly, moving between loud, gritty, electrifying numbers and slower, more introspective, deeply emotional moments. But one thing remained constant: the music moved you. Surrounded by fellow blues-rock enthusiasts and musicians, all soaking up every note, it was easy to feel part of something bigger. Whether sitting or standing, everyone seemed fully immersed in the moment. It felt good—really good—to be there.

The night had it all: warmth, soul, and a musical pulse you could feel in your chest. If you were looking for a show that lifts the spirit and gets you grooving, this one delivered in full force. As someone who isn’t originally from Austin, nights like this remind me how lucky I am to live in a city where live music isn’t just entertainment—it’s a way of life. Every show feels like opening an extraordinary gift, and tonight’s performance was every bit as captivating. Music is alive in Austin in a way that feels constant and rare; it is the heartbeat of the city.

Being given the chance not only to attend the show but also to photograph it and write about it genuinely blew me away. Everything about the night felt as though it was meant to be. Despite forecasts of rain, the weather was perfect—cool air, a gentle breeze, and a clear sky. From leaving home to settling into my hotel afterward, the night flowed seamlessly.

Joe opened with “Breakthrough,” the title track from his latest album. The song bursts to life with bold, driving guitar, keys, and a tight rhythm section, combining to create a vibrant, catchy groove. His clear, confident vocals carry an uplifting message that immediately draws the listener in. A highlight was when Sue Foley joined him for “See See Baby.” She’s a powerhouse, and watching them trade energy on stage was electrifying, creating one of the night’s standout moments.

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TVD Live Shots:
David Byrne at the
Dolby Theatre, 11/21

WORDS AND IMAGES: DANIEL GRAY | The word genius is tossed off too often nowadays. It seems that everyone famous is getting labeled a genius for one reason or another. And while it might be too much to say that David Byrne is a true genius, if he’s not, he’s pretty damn close. The reasons were on full display on the second night of his two-night run at the Dolby Theater in Hollywood. Byrne’s Who is the Sky? Tour (sharing the new album’s name) forces the audience to rethink how music can be presented. Is it a concert? Is it a Broadway show? No mic stands. No drum riser. No stacks of amplifiers. Just Byrne and 12 other performers put on a show that was fun, meaningful, breathtaking, and at many times, visually stunning.

Coming out in head-to-toe orange outfits, Byrne performed a beautiful acoustic rendition of “Heaven” with three other members of his entourage. A stark image of the moon served as the backdrop on the floor-to-ceiling high-definition video screen.

Following that was an explosion of people, sound, and visuals; more and more members of the show entered the stage, singing, playing, and, most of all, moving. The man who was once known for running all over a stage while others played was now part of a democratic swirl of performance as drummers, singers, dancers, a guitarist, and a bass player all got their moments to shine individually and within the entire ensemble, overcoming the monochromatic nature of the outfits. (They have also been all blue at other shows.)

The mixture of new songs from Byrne’s Who is the Sky? and other solo work, with, of course, his Talking Heads days, was well thought out and seamless. Banging into the Talking Heads hit, “And She Was,” early let the audience know that his voice could deliver exactly what was expected. As a matter of fact, Byrne’s voice was a revelation, powerful and unique as always. He was also a physical marvel: performing, dancing, and even singing while balancing on one leg. At a certain point, you must remind yourself: the man is 73.

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TVD Live Shots:
Devo and The B-52s
at Germania Insurance Amphitheater, 11/1

WORDS AND IMAGES: DANA WALSH IN AUSTIN, TX | It was a night of nostalgia, energy, and pure joy as Devo and The B-52s took the stage at Germania Amphitheater in Austin. From the stormy build-up to the electric atmosphere inside, the evening was a rollercoaster of emotions that culminated in unforgettable performances by two iconic bands that helped define an era. Whether you were there to shimmy to “Love Shack” or lose yourself in the chaotic brilliance of “Whip It,” this show was a celebration of bold, unapologetic music that still feels as fresh and fun as ever. Curious how the night unfolded? Let me take you through the highs, the surprises, and the moments that made it magical.

Let me set the scene. The drive to the venue was a stormy adventure—rain on and off for nearly an hour and a half. When I finally pulled in (a solid three hours early), the sky looked ominous, heavy clouds rolling with flashes of lightning in the distance. Dread started to creep in, but I tried to stay hopeful.

About an hour before showtime, the storm hit full force. Then it stopped. Then it threatened again. So, we all waited it out in our cars, refreshing social media for updates. I got a text saying the show was delayed and that they’d keep us posted. A little relief, but still that nervous “what if” feeling. Half an hour later, I noticed a few people walking toward the stairwell where we were supposed to enter. I got out and crossed the lot to check with security. I’d barely been standing there thirty seconds when someone came over the guard’s radio: “They’re letting people in.”

Instant excitement. From our spot, you couldn’t see the main entrance, so it felt deserted—like maybe the storm had scared everyone off. Nope. Once inside, the place was packed. The air was electric, the crowd buzzing with relief and anticipation. The speakers blasted tracks straight out of my high school years, and the nostalgia was real. The anticipation built, and I couldn’t help thinking how much The B-52s and Devo had really helped shape that era. They were bold, bizarre, and utterly unapologetic about being different. We could use more of that today.

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  • SUPPORTING YOUR LOCAL INDIE SHOPS SINCE 2007


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