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Quinn XCII LOOK! I’m Alive Tour

Artist Website | Opener: Allen Stone

Venue: Hollywood Palladium, Los Angeles, CA - October 8, 2025

Vibe Check: 🌈 | Mic Check: 🤘🏽

Ride Like the Wind, Bullseye!

During my usual new music binge for Now Playing, I listened to “Kissed the Sun” by Quinn XCII and decided I needed to hear it live. The song just screams group sing-yell sesh and I knew it’d be the endorphin hit I’d need. Seeing Allen Stone as the opener made it a no-brainer.

I go to a lot of shows and I’m never surprised (and always disappointed) when the openers are playing to a half-empty room. Going early to shows is one of the best ways to discover new music! But, maaaan, was I surprised to see the usual “I’m only here for the headliner”-type crowds during Allen Stone’s set!

His performance at the Palladium was a demonstration of nearly 20 years of performance experience and command of the stage and his instrument. His touring band is also filled to the brim with talent and charisma and unbridled joy. All signs point to a new album release any day now so take yourself to his show to be transported funkytown.

The last time I saw Stone was in 2014 at Bilbao BBK, a Spanish music festival. I was far away from home on my first international solo trip and going to see Seattle-native Stone gave me a fleeting feeling of home. His vocals are truly insane and it wouldn’t be a stretch to say he’s one of the better vocalists alive today.

She Doesn’t Even Go Here!

I have a bad habit of buying tickets to shows when I only know one song. My sister told me I shouldn’t do that as it’ll only lead to disappointment. What’s the point of being a big sister if you’re gonna take their advice? 🙄

The long story short here is I was surrounded by S U P E R F A N S. Fans that knew every word, bought every piece of merch, followed every instruction to throw their hands in the air.

I’m no party pooper. I, too, will wave my phone flashlight in the air like I just don’t care. And I will cheese and grin and dance like I know every song.

The power behind going to shows where you don’t know anything or anyone is you can really observe why people that are super fans are there. That night I learned that Quinn XCII’s music is simply positive. Bubblegum, rainbows, butterflies, the sun shines outta his ass — in the least offensive way. His music is joyful and full of optimism.

His show is full of call and response, danceability, instructions to get on people’s shoulders, and “now YOU sing!”-audience karaoke. The performance is interactive, fun, and demands physical connection with the people around you.

All that is better than drugs.

But we all know how the Just Say No campaign went 😉

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Bring Me the Horizon

Artist Website

Openers: Motionless in White, The Plot in You, Amira Elfeky

Venue: Intuit Dome, Inglewood, CA - October 3, 2025

Vibe Check: 👯‍♀️ | Mic Check: 🤘🏽

He Was a Boy & She Was a Girl

The biggest perk of sitting in the rafters is being able to watch the crowd like an omnipresent goddess. From high in the clouds, nose pressed against the safety glass, I can see a trained classical dancer vibing her way to heaven mere feet away from a dude hardcore windmilling his way to the promised land.

Did he notice her? No. Did she notice him? Probably not. Were they meant to be together? Can I make it any more obviouusss?

This mystery long-haired platinum blonde dancer was wearing a tube top and black leggings with stilettos at a hardcore/metal rock show. I later saw her gracefully float back to the ground after having crowd surfed with all her hair, makeup, and shoes in tact. She adjusted herself and waltzed back to her spot in the crowd as if it was just another day at the office. An icon.

Whoever you are, may you never break a heel, twist an ankle, or ever let a man make you cry. Amen 🙏🏽

—

Unlike a lot of my Show & Tell pieces (where I trick myself into thinking it’ll be a short and sweet piece but then I get carried away by my desire to share all my observations and thoughts), I’ll let a few one-liners and my shaky cam video tell the story.

Amira Elfeky: singing to the rafters in an empty arena takes power
The Plot in You: “let’s get emo!” *proceeds to play four questionable bars on acoustic*
Motionless in White: just because i have pigtails doesn’t mean i won’t mess you up
Bring Me the Horizon: i’m convinced the crew and writers are former Imagineers because i was simply in awe at the attention to detail and intimacy despite the grandiosity of it all

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Coheed and Cambria

Artist Website

Openers: Taking Back Sunday, Foxing

Venue: Greek Theater, Los Angeles, CA - September 19, 2025

Vibe Check: 🌈 | Mic Check: 🍄

Divine Intervention

Women’s restrooms are a portal to a secret dimension. The moment I cross the threshold into the fluorescent buzzing light and head into the sticky never-enough-toilet-paper stall, the world spins and the empathy part of my brain starts to light up. I reopen the portal to the sinks and mirrors and I’m majestically transformed into a magnet for oversharing.

“You’re so beautiful!” the equally magnificent stranger says as the obligatory bathroom introduction.

*tee hee* “Thank you! I love your shirt,” I say in expected reciprocity, desperately looking around for a soap pump that works.

“Are you here to see Coheed or Taking Back Sunday?”

“I bought tickets for Coheed after listening to their latest album but TBS is a happy surprise!”

“Oh…I’ve been kinda asking around to see if anyone is here for TBS…” she says dejectedly.

“I mean, I’ve been a fan since I was a kid! So I’m definitely out there singing all the songs, if you know what I mean.”

Her eyes light back up. “My brother recently died and I’m here to honor his memory. He was a really huge fan. I’m here with someone else but he doesn’t really get it, you know?”

She shared more memories of her brother and her distaste for TBS lead singer Adam Lazzara’s penchant for wrapping his microphone cord around his neck. We laughed about me having a TBS shirt with that very imagery (probably in a box at my mom’s house).

“He’s been doing that for at least 20 years!”

“Wait…you’re like a HUGE fan 😂”

We escorted each other back to our seats.

Prolly Why I Hate Pepsi

When I was 15 years old, I got dropped off at my BFF’s house for an epic sleepover. We were going to binge snacks, go to the Taking Back Sunday concert, and then pillow talk about school and god knows what else.

I took a chug of my Pepsi. I felt a brain-freeze sensation slowly traveling down my throat inch by inch. The next thing I knew, I was waking up on the kitchen floor.

I never learned why, but the freezing cold soda triggered a seizure. Needless to say, I didn’t end up going to the show. I also didn’t get to drive till I was 18, I didn’t get the quinceañera I asked for instead of my license, and apparently I didn’t get over it.

Finally getting to see TBS as an adult cleared that timeline for me. I got to scream my lungs out and head bang till I nearly flipped over the seat in front of me (don’t worry, I played it cool). It was everything my teenage heart needed and something inside me healed.

🙂‍↕️

As a teenager, being part of the “scene” was alternative, weird, and counter-culture. We had oogles of albums full of depression anthems and songs where we glorified self-harm and suicide. That night I was surrounded by people that not only made it to adulthood, but stayed true to themselves and show pride in having achieved Elder Emo status.

While Taking Back Sunday has maintained their reputation as mid-quality performers, they also maintained their lifelong connection with a generation of people that know “There’s No ‘I’ In Team”.

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“Sing so loud that your voices transcend time and I hear you on the next journey” - Claudio Sanchez

Only a week prior to the show there was a very public assassination that set America ablaze. The air was thick with uncharacteristic humidity and a palpable fear about life as we knew it being over — for real this time.

For the first time in a while, I was beginning to lose hope. Like really debating if I even had ambition and dreams left in me. Through some tough conversations and reflection, I had to reconnect to my Higher Purpose and choose to continue to live at a higher vibration. Not just for me but for everyone around me, for you.

Both Taking Back Sunday and Coheed’s lead singers shared messages of "escape” and looked for the evening to provide everyone a sense of relief from the madness by joining together in nostalgia and song.

Throughout the night, I was looking around and everyone’s smiles were ear to ear, people were helping each other, some of us were playing air guitar or air drums, and it really made me miss being in the mosh pit. This entire kumbaya experience was elevated by gorgeous set design and the masterful musical and vocal performance.

Coheed and Cambria are comprised of highly skilled and technical music neerrrdddds. All but one of their albums are companion pieces to their graphic novels The Armory Wars. The intersection of these two worlds make for intricate storylines, opera-quality vocals, and dramatic guitar solos that’ll melt your face. As if that wasn’t enough, we all got to sing along to a cover of The Killers’ “Mr. Brightside.”

Prog rock may not be for everyone, but this show and this band is welcoming to all kinds of kinds.

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Mac DeMarco

Artist Website

Openers: Daryl Johns, Vicki Farewell

Venue: Greek Theater, Los Angeles, CA - August 29, 2025

Vibe Check: 🍕

Mic Check: 🎧

Struggle Bus

Daryl Johns, the first opener of the night, got me worried I was headed into a really bad night of music. I nearly didn’t want to mention this performance at all. The day after the show, my dad asked me how my night was and I could barely form a coherent thought because I was so confused about what actually happened. My grasp on the English language was loosening. The best I came up with was:

A barefoot man performed for thousands of people and his idol while passive aggressively signaling to the keyboardist that they’re not in sync. The bassist and drummer looked upon them incredulously with stifled laughter. The audience began plugging their ears from the screams blowing out the speakers and erupted into applause at the conclusion of the set.

It was pretty clear that each band member has musical training and the chops to put on a great show, but it just wasn’t coming together. Even from the middle back rows, I could tell that intra-band dynamics were distracting and throwing everyone off and I wasn’t sure if we were witnessing a crash out in real time. So when Johns returned to the stage two sets later to perform as Mac DeMarco’s guitarist (and played incredibly well btw), I had to pick up my jaw from the floor. Maybe I just witnessed “controversial performance art”?

The saving grace was the drummer. His style reminded me of Gospel Drumming: jazzy, full, and insanely speedy drum fills. When everything else in this set was missing the mark for me, the drummer gave me something to focus on.

🤐

Normally when I say something sounds like Anita Baker or 80s R&B it’s a compliment. Vicky Farewell’s melodies didn’t feel entirely original or groundbreaking but would fit well on playlists with contemporaries Men I Trust and Natalie Prass whose whisper-like singing they have in common. Her crowd work was funny and engaging and a decent attempt to reset the vibe.

🤐

When Mac DeMarco came out and introduced his band (usually reserved for the pre-finale), I knew immediately what the problem was with the whole show’s vibe: it’s the company Mac keeps. Mac’s performing band included Daryl Johns as his guitarist and the keyboardist was from Vicky Farewell's band. Johns and Farewell both are on DeMarco’s record label. This was all a messy, family affair.

DeMarco has an indie and do-it-yourself ethos that informs his keep it simple, stupid way of operating. His interview with The New Yorker showcased an admired musician that played and recorded every instrument on his latest album Guitar and released it on his independent label.

Once I learned that most of DeMarco’s current tour, press, and songwriting cycle was all self-produced, the entire unwieldy night began to make sense. This is a creator that’s gone through the “indie” way of doing things but is trying to adapt to the modern music industry; an industry that cannot rely on music streams alone but on ticket sales and merchandise.

DeMarco not only sold out three shows at the Greek during Labor Day weekend, but then added a surprise sold out show midweek at a much smaller venue before his three-day run. He has a dedicated and surprisingly age-diverse fanbase that clearly demands to see his work performed live. They show up and show out. I only wish the live performances did the same.

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Echo Park Rising

Artist Website

Venue: Echo Park, Los Angeles, CA - August 16, 2025

Vibe Check: 🌈

Mic Check: 💃🏽

Drunk Girls in Bathrooms

Last week I went to two of my favorite places on earth: the public library & a concert — IN THE SAME DAYYYYY!

Echo Park Rising is a music and arts street festival put on by the chamber of commerce in collaboration with local restaurants, bookshops, storefronts, and music venues to provide a dedicated walkable place for up-and-coming artists to perform and display their art for free. We’re talking makeshift stages in parking lots, patios, and sidewalks; places that barely have foot traffic are now overflowing with raucous energy.

I started my day off at the LA Public Library to scramble to make my first mini-zine promoting Music as Literature. I passed them out all day as fellow Substacker (Live and in Colored) and I hopped from venue to venue. I’m not a shy person and this still took me out of my comfort zone to share my work face-to-face with people. Drunk girls in bathrooms really know how to hype you up!!

What I love about EPR is that it’s a one-day snapshot of everything I love about the Los Angeles music community: it’s self-driven, it’s genre-fluid, and filled to the brim with radical love for all the art forms. You can hop from one back patio playing country music, to a large stage playing alt-pop, to a parking lot playing experimental rock, to a bar porch featuring female-fronted bands.

The best new bands are probably playing in someone’s backyard as we speak!

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YouTube Playlist, Apple Music Playlist, Spotify Playlist

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The Crooner & The Cowboy Tour

Artist Website

Opener: Charley Crockett

Venue: Hollywood Bowl, Los Angeles, CA - June 5, 2025

Vibe Check: 🍕

Mic Check: 🍄

“God Loves Everyone”

Leon Bridges plays a huge role in my love story.

I’ll share the details of his involvement another day. For now, know that the love he captures and inspires in his music is palpable. His storytelling isn’t limited to the woes and power of romantic love; he captures the wholeness and freedom felt only by higher beings, family, and love of self.

It’s clear in his performance and the energy around him that he is surrounded by love of his chosen and blood families and finds joy in his sharing his gifts with the world.

The Hollywood Bowl is a magical place to watch music. It’s an open-air theater close enough to the bustle of the Walk of Fame but high and separate enough to lose yourself in the beauty of the Hollywood Hills its nestled in. The Bowl, with its storied musical history, recreates the buzzy energy of a graduation or awards ceremony. Typically viewed as an honor to perform there, I have the privilege of watching artists soak in the moment and perform like they damn well deserve to be there and may never get the opportunity again.

Both Leon and his opener Charley Crockett have performed at the Bowl once before in support of a Willie Nelson birthday concert held in 2023. I had a parasocial sense of pride seeing them both achieve a level of acclaim allowing them to perform solo.

Texas Forever

Charley & Leon, both proud Texans, brought a broad range of attendees and country & soul influences to their live performances.

Charley’s sound, influenced by honky tonk, traditional country, and Louisiana soul, reminded me of all the fun times I had in college sloppily listening to my friend’s bands.

Charley’s “outlaw” style of music and performance make room for hilarious and colorful lyrics about the open road and lost money. He performs with the ease and fun I’d expect for honky tonk: aiming his guitar neck at the audience like a gun and showing off his impressive footwork.

His songs have clear influences from across the Bible belt what with his band’s use of organs, trumpets, and some skanky sounds warranting a 2/4 clap instead of country’s typical 1/3. Charley has got the funk and the experience to play through a broken guitar string and a bangin’ cover of “Jukebox Mama” by Link Wray

🤠

Leon’s performance was technically tight with his vocals coming in powerfully and clear over his band. His performance style isn’t rowdy or loud (his albums are typically suited for quiet romantic evenings) and he’s not a powerhouse vocalist. His quiet power demands attention and focus—or else you might miss a subtle and beautiful run in his vocals.

Leon’s church influences, use of group harmonies, and the (ever-increasing) use of the pedal steel guitar left me feeling emotionally nourished. Singing “River” and “Ain’t Got Nothin’ On You” underneath the moonlight in a cool breeze with thousands of people and your love does something to the spirit.

Throughout his set, tightly-spaced bench seating be damned, couples across the Bowl were stood swaying and singing together. Some were so moved to find their way to the aisles to soak in the romance.

For the non-lovers in the crowd, they were most excited to hear Leon’s top hits including “Texas Sun” from his 2020 release with Khruangbin, inspiring one of the loudest cheers of the night.

If, with everyone going on today, you need your spirit to be refueled and to be reminded that there is good in the world, make your way to see Leon Bridges live.

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Special shoutout to Charley’s band member Kullen Fox for making my jaw drop by playing the organ and the trumpet at the same time & Leon’s guitarist/percussionist Emily Elbert for playing some of the stankiest guitar with a straight face and killin’ it!

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L.A. Witch

Artist Website

Opener: DAIISTAR

Venue: The Lodge Room, Los Angeles, CA - May 23, 2025

Vibe Check: 🥱

Mic Check: 🎧

Stranger Danger

Bottom line up front: I had a terrible time and left the show early.

Please don’t trauma dump to strangers you meet at shows… and then talk to them during the set. After 30 minutes of meeting you, I should not know about your health issues, your estrangement with your sister, that one time you got kidnapped in the 90s, or your dissatisfaction with property taxes.

Everyone else was having audible conversations during the set!!

As for L.A. Witch, it should go without saying that, unless you’re Beyoncé or Mariah Carey performing at the GRAMMYs, threatening to kill your sound guy isn’t a good look. (For the record, it’s not a good look for Bey or Mimi either!!) I deeply enjoyed their record DOGGOD and was looking forward to the thrumming energy it provides. I’m disappointed the performance was uninspired and attracted some generally rude people.

Mad props to the service people at The Lodge Room who were funny, helpful, and heavy-handed. Did you know that if you miss the general ticket sale window, you can email them asking if they have a standby list?! They’ll say no, but then they’ll let you know they have a limited drop the day-of at 9 am so hurry before they sell out again!

DAIISTAR Shines

The only reason the show wasn’t an entire bust was because of opener DAIISTAR. Throughout my notes, I had variations of:
i love this drummer… H e L L y E a H … goddamn!! i LOoOoOve this drummer. OMFG, is this drummer the band leader?!1!

Their overall sound is reminiscent of 90s Seattle rock and Billy Corgan’s whiny vocals (peace and love) with a jam-band steady energy inviting you to sway, headbang, and get lost in the sounds. If it weren’t for the drummer’s high-octane style of drumming, I’d have spent the entire performance listing off their musical references.

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Star X Lover Tour

Artist Website

Opener: Ivri

Cameos: Dua Saleh & SAIAH

Venue: Echoplex, Los Angeles, CA - May 14, 2025

Vibe Check: 🌈

Mic Check: 💃🏾

Brainrot

I had lost faith in the show-going youth.

In 2022, I had gone to see Chase Atlantic, not knowing at all what I was getting myself into. I was positively and unmistakably dressed like a cheug while teenagers and freshly minted legal drinkers were wearing bastardized versions of stereotypical 90s/2000s outfits. It was one of the first few shows I attended post-lockdown and it was at this show that I was brutally confronted with the realization that society collectively lost its mind. While it relearned how to perform its basic functions, it decided that teaching the youth about show etiquette was not required.

I witnessed TikTok-induced brainrot. It’s generally understood to be rude to watch the show through your camera phone, especially when it’s blocking the shorty behind you (please validate me?!). Now imagine someone holding a phone high above their head, blocking your view, so you can watch them scroll TikTok. And not just any ole doom scroll feed — they’re watching other people’s concert videos … of the band … that’s standing right in front of them.

The next day, I was still so baffled by it, that I called the one 20-year-old I knew to ask her what that was all about. She unsuccessfully defended her peers.

Fast forward to last week where I found myself out of my element again. The fashion looked like what we thought the year 2020 was supposed to look like when we imagined it in 1999, except a lot more porn-coded: ultra-micro mini skirts, garters, furry tails, and BDSM-style chains with teddy bears hanging.1

Anyone over the age of 30 was lining the back wall or seated, or holding an alcoholic beverage (another social signal that you’re an old head). I thought I was going to be in for another night of feeling like a dinosaur.

I left Dreamer Isioma’s show with a restoration of faith that the music-writing and show-going young adults do know how to deeply connect and participate in society and be present — they just need to see themselves in the art.

“It’s Cute Spreading Love”

The show opened up with Ivri (pronounced like a clipped version of “Ivory”), a shy-presenting, mighty performer. Her stage outfit mirrored that of the audience: mini-dress, a long furry tail, and a garter with a hanging pink teddy bear. She has a general “cute but psycho” energy about her: mousy voice, cutesy outfit, and will scream and kill you with an innocent smile. It was heartwarming to witness some of her first experiences as a performer: seeing attendees wear her merch and singing her songs back to her. The standout song for me was “Void Basket” which has jazz-style drums, R&B bass, and a delirious vocal melody that reminded me of being in Alice in Wonderland. I recommend her 2023 full-length the star factory especially if you enjoyed the official soundtrack of I Saw the TV Glow (2024).

⭐

Dreamer Isioma’s April 5 release Star X Lover begins with a banging “She Dance with the Devil”, lightning-fast one minute and forty-five seconds track. I bought tickets to see them live immediately after the song ended. I learn a lot more about an artist’s ethos being at a show than I ever could listening to the album alone on my couch. I had to see and feel this rowdy energy first-hand; I knew something special was afoot.

If I hadn’t made it abundantly clear, I showed up to this show completely blind. Outside of the album covers, I had no idea what Dreamer look like, no idea how old they are, or what audience their music attracts. After getting over the fashion culture shock, I learned quickly through their performance that Dreamer stands for inclusion and radical self-love.

I sometimes get blind to the fact that I live in a welcoming and liberal city; I take for granted how many safe queer spaces exist. I don’t blink an eye seeing the obvious queer signals (🏳️‍🌈) or even the subtle ones anymore. Creating and protecting these spaces — and, more importantly, the people that occupy them — is a critical responsibility of allies.

Between songs, Dreamer yelled out “IF YOU’RE GAY…!!” and were interrupted by a sustained applause and cheer. They couldn’t even finish their sentence as there was nothing more to say; they were among friends.

Dreamer and their band created an organic and joyful energy that I hadn’t witnessed since I was a teen myself. The record is heart-pounding and loud and challenging; the live performance of it is funky, messy, and raw. You probably wouldn’t hear it on the record, but their live band is clearly influenced by metal, ska(nk), rock-forward pop (included a kick-ass interpolation of Michael Jackson’s “Beat It”), and the funky angry rock of Rage Against the Machine. The band’s inclusion of these styles provided a punk energy that inspired the crowd to all raise their middle fingers and yell “FUCK THE GOVERNMENT!” Any phobias were unwelcome and demanded to leave.

It may or may not have been the same moment that the bartenders behind us were clanking behind the bar shouting “Ugh! Help me find my earplugs!”

I don’t want to label them haters (it was definitely way too loud in there) but it did make me and my boyfriend laugh because (1) he and I always wear ear protection at concerts so we empathized with her struggle deeply; and (2) it was the perfect comedic juxtaposition of the old and new guard.

It suddenly clicked who this music was by and for.

What surprised me the most was how engaged this audience was. Though the loud outfits might make you think otherwise, they weren’t there doing “influency” things. Phones were few and far between, they were dead silent between sets to hear the performers speak, they actually danced (!!), and were using analog digital cameras.

Emphasizing the joy and purity of it all, Dreamer Isioma’s set concluded and was near instantly met with shouts for an encore. The band seemed surprised and moved by this, claiming they didn’t have a song prepared. It was at this moment, too, that I lit up. This was a genuine cry from the crowd to play “one more song”.2

⭐

This experience motivated me to intentionally explore more music by artists in this age group and to better understand what drives their creation of sad (and concerning) lyrics combined with an energetic, confrontational sound.

Video Credit: JRH

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Cowboy Carter (Night 2)

Artist Website

Venue: SoFi Stadium, Los Angeles, CA - May 01, 2025

Vibe Check: 👯

Mic Check: 🤘🏽

Oh, Say! Can You See?

A few years ago, just days before Independence Day, I was celebrating friendship on an ugly, gray day at an equally ugly, gray Redondo Beach. After several hours of lying in the sand, we wandered off in search of food—only to come across an image I still reference when talking about the perversion of the American flag. The flag was enormous, large enough to span nearly two floors of a commercial building. Despite the impending Fourth of July and all the signs of celebration around us (mattress sales!), the way the flag was displayed—towering and flanked by trucks lining the street—felt more like a warning than a welcome.

Contrary to that memory, seeing the excessive use of American flag imagery at Cowboy Carter was inspiring and reminded me of when living in America used to be fun and easy. When yelling “MURICA” at inappropriate times was funny and annoying, not a threat. The friend that accompanied me shared that she felt triggered by all the flags around I don’t blame her for feeling this way: seeing Old Glory on cars, red hats, flown on houses has become the most present and acceptable form of a dog whistle in these trying times.

🇺🇸

I arrived emotionally prepared to dance my ass off — not nearly cry at all the things we could have had when “Freedom” came on so early in the set. Beyoncé’s team of videographers, costume designers, choreographers, light technicians, set decorators (I really can and should keep going), et. Al. created an experience for me that brought me to tears a handful of times and left me agape for the remainder. I was awe-inspired by the outcome of what cannot be described as anything other than an amalgamation of these creatives’ life work, Black history, and the role of the Black creative in the Resistances.

It’s truly amazing what can be achieved when you combine creativity with money from your haircare line, your whiskey line, your collaboration with Levi’s, and the expensive-and-hard-to-get concert tickets. Say what you must about Billionaire Beyoncé not being the messenger for the revolution, but the woman damn sure knows who to call to compile moving historical imagery and sound to remind us not to lose sight of how she (and we) came to be.

🇺🇸

If you’re the type to have spoiled the show for yourself by watching videos, reading Vogue, or even just choosing to stay glued to Beyonce’s instagram, you would have seen most of her costumes adorned in the stars & stripes motif. Triggering and corny as they may be, I was here for it all. I particularly loved her final jumpsuit which was likely inspired by fellow Texan Selena Quintanilla.

Don’t be surprised if you catch me reclaiming and rocking the stars & stripes yelling “TAKE AMERICA BACK!” at a rally near you.

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The show included several references to Black poets and musicians including Ras Baraka, Jimi Hendrix, and Gil Scott-Heron.

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Fighting Oligarchy: Bernie Sanders & Alexandria Ocasio-Cortez

Bernie Sanders | AOC

Openers: Raise Gospel Choir, The Red Pears, Jeff Rosenstock, Indigo de Souza, Dirty Projectors, Joan Baez, Maggie Rogers, Neil Young

Venue: Gloria Molina Grand Park, Los Angeles - Apr. 12, 2025

Vibe Check: 🌈

Mic Check: 🤘🏽

When We Fight, We Win

Fresh off the back of the nationwide April 5 Hands Off protests, Bernie Sanders & Alexandria Ocasio-Cortez were greeted by more than 36,000 fired up residents in Los Angeles’s Gloria Molina Grand Park. The adjacent streets, alleyways, and staircases of City Hall overflowed with attendees and children perched in shady trees trying to catch a glimpse of the speakers and performers; if not just as a speck in their grainy over-zoomed photos.

The event felt removed from its grassroots origins and more like a normal Spring Saturday afternoon in Los Angeles: a sunny day at the park with live music and taco trucks. But in that semi-icky way where even a day about fighting against oligarchy and the perils of capitalism, the streets were filled with vendors selling stickers, buttons, t-shirts, and water — and, seriously, 2 rows of taco trucks and beverage vendors.

After the long security screening lines, to the right, was a dirt lot for overflow with way-too-loud speakers and a jumbotron; to the left, the path to the main stage. It wasn’t until watching some of the footage back did I realize, though we were in the main grass area, how far back I was from the action and how many thousands of people were stood behind me.

In 2023, Grand Park was named after Gloria Molina, the first Chicana in history to be elected to the California State Legislature, the Los Angeles City Council, and the Los Angeles County Board of Supervisors. It’s not lost on me that for all the valid criticism of AOC and her ascendance to “celebrity” status, that it’s a big-effin’-deal for a working class Latina to now have this coveted place in society and to be celebrated in a city and a gathering place with such history. I hold sincere joy for AOC in carrying on this legacy and to also be able to meet, mere days later in Bakersfield, CA, another Chicana living legend Dolores Huerta.

Though I hold fear that the quick rise to stardom (and probably eventual power) will erode my trust in her, in this moment, I’m happy she’s up there representing me; maybe not my district — but ME.

My social media diet these days is anemic; it was no surprise to me that I only found out there were going to be performers at the rally until the night before. My friend was excited to see (and only mentioned) Jeff Rosenstock as part of the lineup. Needless to say, I was stoked to find out Joan Baez and Neil Young were in attendance!

My trio had arrived at the park just as Jeff started playing. His set was one of 2 electric guitarists (the other being the Dirty Projectors); thrumming, loud, and classically punk. Jeff’s set felt the most musically connected with the righteous anger of the moment.

The other performers, icon status aside, were Kumbaya to the near point of parody. Joan Baez sang a cover of “Imagine” by John Lennon for crying out loud. (I’m still on the fence about if was nearly as tone deaf as the 2020 celeb rendition)

Regardless, I felt a heaviness and annoyance that here Joan was singing about unity and revolution 62 years after she had sung at the March on Washington. Heaviness for the severity of the moment we’re in and an annoyance that this country really just does not learn its damn lesson.

Joan and Neil had the largest command over the crowd, easily able to guide us into swaying, chanting, and unified singing. My particular place in the crowd was so far away from the stage that the crowd surrounding me was whisper singing and putting up shy arms, completely lacking the accountability and obligation of participation usually accompanied by the artist being able to see you.

It was the toddler sitting atop their dad’s shoulders squeakily yelling “Take America Back!” at Neil Young’s command that really got me fired up.

Maggie Rogers unfortunately has been trapped in viral moment purgatory. After watching her in the clip with Pharrell and the single that followed, I haven’t kept up with her. I haven’t been blind to that fact, though, that she has since built herself a reputation as a reliable and sought-after live performer. I was missing out on her angelic and broad-ranged vocal performances this whole time — why did no one tell me?!

Indigo de Souza was the most pleasant musical surprise of the day. Her voice felt fresh, different, and vulnerable. Despite not being able to hear all the lyrics, I could tell over the crowd murmurs that she has something to say and her voice carried a desperation for change.

Overall, the crowd gets a rainbow for demonstrating care for our neighbors throughout the long, hot, and shade-free day. We were making sure people got water, recycled, made space for medics, stayed generally quiet when the speakers came up, we queued up nicely, we took public transit, we offered our seat to the elderly.

For just a few hours, it felt like a functioning society.

Ch-check One-Two

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Twin Shadow “Georgie” Album Release (Night 2)

Artist Website

Opener: Elk Darling

Venue: Barnsdall Art Gallery Theater - Apr. 04, 2025

Vibe Check: 🌈

Mic Check: 🍄

Enjoy the Silence

You show up to a show one day and realize that you’re not some young kid going to the show anymore. There’s no camping overnight, pushing to get to the railing, or cosplaying the performer. You’re in line at an art gallery on a Friday night wearing a reasonable coat, standing in line behind a couple wearing hiking boots and comfy socks.

Then immediately after you’re scanned in, you receive an unexpected surprise: FREE VINYL. “The night can’t get any better,” you wistfully sigh as you descend the staircase to the wine bar.

I’m a vertically challenged solo show adventurer; I naturally gravitated toward the front row. It was first-come first-served seating and folks were already saving spots with their haphazardly placed coats and newly acquired vinyl on the chairs. I took a seat in the second row already knowing I was going to have the poor luck of sitting behind a tall man.

As the 80s pop jams played their muzakical role and it was becoming more clear that the folks that were planning on coming had already arrived, I realized that the coveted front row was occupied only by 2 (also solo) showgoers; one of which was, in fact, very giant and blocking my view. I tapped the stranger on the shoulder to ask if I could sit next to them, winning me leg room and lively conversation!

~

Opener Elk Darling, dressed in all red and pleather devil horns, ripped through their set including their shoegazey single “Think About It”. It was a short and fun set sprinkled with lore about the Cecil Hotel and a deprecating joke about remembering to tell the crowd that “this is our last song.”

After sharing my potentially problematic thoughts about mediocrity, the curtains rose to reveal two pedal steel guitarists and Twin Shadow, adorned in a Canadian tuxedo and brown boots, surrounded by candles and lava lamps.

The lights were kept low and what with my proximity to the stage, I was expecting awkward eye contact with the performers at any moment. I have mixed experience with seated theater shows. The crowd etiquette is unclear, reliant on performer instruction, and often a little stilted because of it. Even if the songs themselves compel you to dance or whoop, it feels like you’re at a golf tournament: completely silent and with a respectful clap only when the swing is completed.

Twin Shadow called us out for this.

My night was the second of two album release shows. Whereas he described night one as “silent as an AA meeting,” we were allegedly only incrementally better because we were at least as quiet as a “sex and lovers meeting.” There were several cues we missed to clap along with him to the beat, but we did eventually loosen up. More than a couple of times, I was really tempted to stand up and dance because I was so moved by the performance, but didn’t want to draw attention to myself. The folks behind me were clearly longtime fans and (lovingly) heckled him and sang along.

~

I have a bad habit of buying show tickets after hearing one song on an album or not really having a “relationship” with an artist. For Georgie, I was simply moved by the album. One week I was including a song from the album on Now Playing, then the next I was sitting 6 feet away hearing him croon. Twin Shadow was accompanied by two extraordinary multi-instrumentalists, transforming his vocoded and quasi-80s electronic recordings into intimate quasi-country acoustic masterpieces. His raw vocals tapped me into his personal suffering and vulnerability.

On the other side of this suffering, though, is his clear love of performing and the energy crowds give back to him. More than once, I found myself lost in the moment with my eyes closed and could hear him smiling as he sang.

For his penultimate song, he asked the crowd for requests; of which he received many deep in his catalog he laughed about not remembering how to play. He eventually settled on an older song and chose to begin playing by himself only with his electric guitar. After about the end of the first chorus, he silently signals to his fellow performers to “come on in.” Without hesitation, they begin accompanying him with tragic whines on the steel guitar. As the song concludes and the OG fans audibly smile from having heard an older song, Twin Shadow shares that “those guys have never heard that song before,” to bring home the mastery required to improvise so well.

~

One of my favorite moments of the evening was his cover of “Enjoy the Silence” by Depeche Mode. Already a dark song, they cranked it up to eleven by slowing the tempo and reaching for the deeper notes. We were invited to sing along and were accompanied by show openers Elk Darling on guitar and vocals. As if the show wasn’t already hyper intimate and moody, this sing along moment connected me more deeply with those around me as we sang:

All I ever wanted
All I ever needed
Is here in my arms
Words are very unnecessary
They can only do harm

The show was closed out with “Hide It in Attraction” where his vocals were so clear, full, and raw that the man to my left audibly gasped and exhaled a “wow.”

Maybe the awkwardness of being seated was the plan all along — we gave him a standing ovation and cleared the room.

Ch-check One-Two

My favorite track from Georgie

“Buying one t-shirt is worth thousands of streams. So I’m a t-shirt slanger now” — Twin Shadow. So go buy merch!

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G*ve a F*ck LA Benefit Concert

G*ve a F*ck LA Nonprofit Website
Friends In Deed Nonprofit Website
Pasadena Humane Society Website
One Voice Nonprofit Website
Altadena Girls Website

Performers: John C. Reilly, Christopher Owens, MUNA, Courtney Barnett, Perfume Genius, FINNEAS, Reggie Watts, Fred Armisen, Sasami + Rostam, Hayley Williams, Scout Willis, Jenny Lewis, Starcrawler, Juliette Lewis, St. Vincent, Kevin Morby, The Linda Lindas, Lucy Dacus, Symone, DJ Fat Tony

Venue: Hollywood Palladium, Hollywood, CA - Feb. 05, 2025

Vibe Check: 🥱

Mic Check: 💃🏽

“You talk shit about LA and you end up looking like an idiot” - John C. Reilly

In January 2025, Los Angeles experienced the most catastrophic wildfires in its history. Since January 7, a series of wildfires have ravaged L.A. County, consuming 55,082 acres due to strong Santa Ana winds and severe dry conditions. The Palisades and Eaton Fires were the most destructive, burning 23,700 and 14,000 acres, respectively. To date, the fires have claimed at least 29 lives and destroyed over 16,251 structures.

The wildfires directly destroyed 16,251 homes, commercial properties, and other structures, along with numerous automobiles and personal belongings. Of these, 6,837 structures in Pacific Palisades and Malibu were lost to the Palisades Fire, and 9,414 in Altadena to the Eaton Fire.

(Source: UCLA)

After the initial shock and panic died down, Angelenos reinforced why there’s no where else in the world I’d rather be. We take care of our own and care so deeply for the artist community. This particular benefit was just one of a handful that popped up throughout this week. The Fire Aid benefit concert streamed globally from two of LA’s largest venues while smaller locally owned venues held donation-only shows.

Los Angeles and its creative outputs are constantly on the global stage. The city itself is seen, from the outside, as a place of excess and where influencers run rampant. I’ve been here nearly 15 years and I know that it can’t be further from the truth.

This city absolutely does not run without everyday working class people. The wealthy, though they do aggregate here, do not represent what makes this city thrive: service workers, hospitality workers, healthcare workers, everyday plebes like me that work in an office. Entertainment is the primary output of LA and that, too, requires the labor of undecorated and undercelebrated set decorators, stage assistants, writers, musicians, construction laborers, camera people, caterers, and dozens of other jobs I’ve never heard of before. There are no superstars without everyone else.

These are the people impacted by the wildfires. All the regular, shmegular everyday people.

We cannot and should not escape the much-needed conversation about the haves and have-nots in LA. AND — we can have this conversation with compassion. Many of the performers of the evening were victims themselves or were otherwise impacted and chose to help out how they know best: performing.

CalifoOOoOoRn-yuhhhhhh

John C. Reilly of Step Brothers (2008) fame hosted the evening with a dark humor and candor one could expect from a comic experiencing trauma (he shared his home burned down).

The sets were stripped down bringing back memories of Punk Goes Acoustic (2003) and enabled an intimate candlelight vigil atmosphere despite the 4000-people capacity. Each group only came on for about 2-3 songs, some exclusively playing covers of inspiring songs about California or unity. At one point I was thinking to myself, “is this what it felt like watching John Lennon sing ‘Imagine’ or is this wildly cringy?”

Crowd vibes were understandably way off, considering the first fire broke out barely a month before. It was clear we were all yearning for a place to come together offline to mourn and help each other. But like many shows post-Covid, concert etiquette seems like a relic of the past. How do we visibly show excitement to see our favorite bands perform in an intimate setting without losing sight of what brought us there in the first place?

The Hollywood Palladium is a venue that has a general admission standing room area and a seated balcony for “VIP”. The sets were solemn and on the quieter side which meant that sound from the balcony carried more than it would for a plugged in set. Reilly called attention to the balcony several times throughout the evening to quiet down and respect the space which eventually escalated to him telling them to “shut the fuck up” — which was met from cheers from the GA crowd.

Overall, I can’t say it was a particularly “fun” night but seeing stripped down performances from some of indie’s biggest performers was memorable and enjoyable. Seeing bands in this format emphasizes the “it factor” required to command a Wednesday night crowd raising money for natural disaster victims. Major kudos to St. Vincent, Hayley Williams, Rilo Kiley, and MUNA for lighting up the room!

Ch-check One-Two

Until I can get a real camera, please enjoy my grainy iPhone video! (or enjoy this HD compilation from YouTube; you won’t hurt my feelings)

Welcome to the inaugural post of Show & Tell — a little corner of the internet where you get to experience my obsession with live music firsthand! Overall, the vibes are going to be chill and friendly. It’s incredibly brave and difficult to be a live performer and even their worst day is more than I can do.

Vibe Check is an emoji rating on the crowd — did they say “woOooOo!!” when asked how they were and put their phones away? You know, basic concert etiquette.

Mic Check is an emoji rating on the show itself — set decoration, stage presence, musicianship, etc. We’re celebrating the skill of performance.

I hope the Show & Tell series inspires you to go watch music in your neck of the woods!

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Ashley Monroe: 2025 Tour

Artist Website

Opener: Striking Matches

Venue: The Troubadour, West Hollywood, CA - Feb. 23, 2025

Vibe Check: 🍕

Mic Check: 🤘🏽

Wild Love

I started listening to Ashley Monroe in 2011 after being introduced to her as one-third of Pistol Annies, a Country trio made up of Ashley, Miranda Lambert, and Angaleena Presley. Ashley is a longtime collaborator and songwriter for Miranda and it wasn’t too difficult for me to take the leap into Ashley’s solo catalog.

My first time seeing Ashley live was in 2013 on Miranda’s Miranda: Locked & ReLoaded Tour when she and the Pistol Annies showed up as the surprise guest.

Ashley’s set was a very stripped down, only accompanied by the two guitarists from her openers Striking Matches for the more vibrant songs. When she wanted to get even more intimate, she played solo on the piano.

Ashley played several covers from Grant Parsons, The Beach Boys, and some songs she had written with Miranda Lambert and Chris Stapleton.

The absolute highlight of my night was making great conversation with the guy at the merch table! I bought the vinyl of Like a Rose (2013) and he offered to set it aside for me so I didn’t have to lug it around the whole show. I came by after to pick it up and he got Ashley to sign a copy addressed to me 😭😭😭. I was so dumbfounded I almost forgot to say thank you.

Ch-check One-Two

“Wild Love” from her 2018 album Sparrow was on my 2024 manifestation playlist. Hearing her play it live with the person I asked for is a crazy, beautiful experience.