DS Show Review: Home Grown, Mercy Music, and Overlap at Chain Reaction, Anaheim, CA (11/21/25)

You know it’s a good concert year when you get to visit your old stomping grounds six months apart. I saw many shows at Chain Reaction in my younger days. While each of them has great memories attached to them for different reasons, by the time I was a fan of Home Grown, they had […]

You know it’s a good concert year when you get to visit your old stomping grounds six months apart. I saw many shows at Chain Reaction in my younger days. While each of them has great memories attached to them for different reasons, by the time I was a fan of Home Grown, they had outgrown small clubs. The Orange County pop-punk band has experienced a resurgence in the months since I spoke with Adam and Johnny back in February. What seemed like a few shows here and there has turned into more and made the band the most active they’ve been in almost two decades. The unsurprising part of all this is that they’ve still got it.

This year marks a big anniversary for the band: the thirtieth anniversary of their first full-length LP, “That’s Business.” A ska punk album that was very much written by a young band learning the ropes and finding their voice, it still manages to be the perfect document of their sound in the mid-1990s. Appropriately, the band played a one-night special show at Chain Reaction to celebrate.

Pop punkers Overlap opened the show. Overlap was a three-piece pop-punk band that were peers of Home Grown in the mid-1990s. With a style close to Home Grown’s own from this time, minus the ska, they were a good choice for a band that probably didn’t get their due when they were active. Their thirty-minute set was energetic, and their songs were pretty damn good, too. Overlap’s short-lived career made it possible to play most of their songs, even some that hadn’t made it to an album quite yet. By looking at their social media, Overlap doesn’t seem sure what the future holds for them, but I hope they keep going.

Up next was Mercy Music from Las Vegas. They were another three-piece pop-punk band that kept the energy going as more people filled in for the main event. Mercy Music had the hallmarks of great pop punk: palm-muted guitars, bass lines that actually move around the neck rather than just follow the guitar, and double-bass pedaled punk rock. Mercy Music played their hearts out and kept the stage nice and warm for Home Grown.

Since reuniting, Home Grown has played a few of the songs off That’s Business: “Hearing Song,” “Face in the Crowd,” and “Get A Job,” specifically. “Surfer Girl” is also, of course, part of their set, but has been for quite a while. The rest have fallen by the wayside, and this show felt like a way to give some of the other songs a proper send-off. If nothing else, it was a celebration of the band at a venue they had played so many times before. 

Video credit to Rock Show Videos

I have the same thoughts now as I did back in May. The band is still on the mark, if not better than their initial run. Time has done that to the punk rock bands who are still passionate about their music, whether they stuck together or reunited. Home Grown played every song off That’s Business, even the ones that didn’t age well, but let the crowd sing the unfavorable lines. While the band seems content with putting songs like “One Night Stand,” “Impotency,” and “Worthless” to rest, I hope they saw the love the crowd had for “Ubotherme,” “Wanna-Be,” and “SFLB.”

Home Grown closed the night with a trio of songs from their next two albums: “Nowhere Slow” from Act Your Age and *King of Pop* tracks “Kiss Me,” “Diss Me,” and “You’re Not Alone.” Overall, it was a great night. The mood inside Chain Reaction was super positive. It was mostly an older crowd, with the kids that mostly seemed to be dragged there by their parents, mine included. 

The band has been very open about this being a one-time thing for various reasons. Like most of us, they’ve grown. This was evident as Home Grown’s sound evolved during their initial run. If this is the end for some of the songs off That’s Business, Home Grown did it right. The show was full of die-hard fans at the venue they grew up seeing shows at and playing an album that meant a lot to the people in that room. It was probably a reunion for a good number of people in the crowd, but it was a celebration for all.

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DS Gallery: Die Spitz rips through Chicago with Babe Haven (Lincoln Hall, 11/12/25)

Babe Haven joined Die Spitz on their Something to Consume tour, a perfect pairing of fierce femme ferociousness and earsplitting aggressive punk rock (not to mention hair flips for DAYS). I last saw North Carolina’s Babe Haven in Chicago last April when they opened for English-duo Soft Play, and instantly fell in love with this […]

Babe Haven joined Die Spitz on their Something to Consume tour, a perfect pairing of fierce femme ferociousness and earsplitting aggressive punk rock (not to mention hair flips for DAYS).


I last saw North Carolina’s Babe Haven in Chicago last April when they opened for English-duo Soft Play, and instantly fell in love with this band. They have the perfect blend of punk, metal, and riot grrrl and a chaotic sassiness that cannot be matched.



Die Spitz has skyrocketed in popularity, releasing their debut album Something to Consume via Third Man Records on September 12th.

Since their last Chicago stop at Schuba’s on May 31st, Die Spitz toured with the infamous Viagra Boys, had their own North American headlining tour, have another headlining tour scheduled in February 2026 in the EU/UK and have a slew of summer 2026 music festivals in the books. 


The band shows no signs of slowing down as members climb onto speakers, jump into the crowd moshing and thrashing about on stage. Their full-throttle performances leave you begging for more…and with the powerhouse of an album Something to Consume, Die Spitz is just getting started.



Check out all the photos from the show!


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DS Photo Galley and Show Review: Bane, Hot Water Music and Spaced – Providence RI (11/14/25)

Fete Music Hall in Providence, Rhode Island, was the setting as Bane and Hot Water Music brought their recent co-headlining tour to a close. It’s a no-frills, no barricade venue consisting of mostly black-painted brick and concrete, located in the gritty-even-for-Providence Olneyville section of town, in many ways the perfect setting for a pair of […]

Fete Music Hall in Providence, Rhode Island, was the setting as Bane and Hot Water Music brought their recent co-headlining tour to a close. It’s a no-frills, no barricade venue consisting of mostly black-painted brick and concrete, located in the gritty-even-for-Providence Olneyville section of town, in many ways the perfect setting for a pair of hardcore and melodic hardcore titans to wind down ehat was, by all accounts, an epic two-week run.


Kicking things off on this run as they did on each night of the tour was none other than Spaced. The upstart Buffalo five-piece experienced an obscenely untimely transmission-related meltdown on the tour’s opening night, but managed to scrape things together enough to bring their blistering, two-step heavy brand of hardcore to the masses. I can’t speak to the rest of the tour, but on this particular night, the band’s set was super well-received, as the constant ball of energy that is vocalist Lexi Reyngoudt constantly danced and paced the width of the stage and encouraged the early-arriving crowd to match the band’s intensity.


Hot Water Music occupied the middle slot on the three-band bill, but this was not a typical opening gig, as the band plowed through sixteen songs over the course of an hour. In a weird coincidence, I’m relatively certain that every time I’d seen the iteration of Hot Water Music that includes Chris Cresswell in the lineup, the set has started with either “Remedy” or “Trusty Chords,” so it was nice getting “Drag My Body” in the leadoff spot on this night. The set that followed did an admirable job of spanning the bulk of the genre-defining band’s catalog; recent tracks like “After The Impossible” and “Menace” have worked their way seemlessly into a set that also includes longtime favorites like “Choked And Separated” and “Rooftops” and “Free Radio Gainesville.” “I Was On A Mountain” and “Turn The Dial” were personal favorites, and closing the set with “Remedy” into “Trusty Chords” is a pretty epic way to bring things to a close.

The aforementioned Cresswell has served as a tremendous sparkplug for the longtime road dogs over the last eight years (editor’s note…seriously? It’s been eight years already?!?). I forget who referred to Jason Black and George Rebelo as Hot Water Music’s cheat code – Brian McTernan maybe? – but that remains a perfect way to explain their presence in the band and the scene. They’ve been operating as two sides of the same musical brain for decades at this point and remain as locked in a driving force as ever. And Chuck Ragan at stage right is…well…Chuck Ragan. He’s as inimitable as ever, and seems to have benefited the most from the spark that Cresswell has brought to the band, as he continues to push himself and his voice to what approaches transcendent levels.

Bane’s set was preceded by an unexpectedly long break as the band and venue tag-teamed to work through some frustrating sound and technical difficulties. But when they finally ripped into the opening notes of “Count Me Out,” they more than made up for lost time. There’s a bit of an emotional and musical floodgate that opens up when Bane plays a show. For a generation now, at least in the Northeast, the band have had the sort of label-eschewing crossover success that bands like Militarie Gun and Knocked Loose and obviously Turnstile have enjoyed in recent years. Bane is a force, a unifying staple that only seems to get more important as the years go by. There’s always a blurred line between band and crowd at a Bane show, as demonstrated by the constant barrage of multi-generational stage crashers and head-walkers that did not stop for the duration of the band’s eleven-song set (and sometimes didn’t stop even in the breakdowns between songs). “Can We Start Again” and “Wrong Planet” were particular crowd-pleasers, while “Swan Song” was a personal favorite. It seemed like the crowd could very much have kept going by the time the house lights came up after “Calling Hours.”

Check out a bunch more pictures from the evening’s festivities below!

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DS Show Review and Gallery: The Slackers at Reggies. Chicago (11.15.2025)

The Slackers, NYC legends, returned to Reggies for the band’s annual Slackfest. Dying Scene was on the floor for The Slackers’ night 2 performance. The Slackers, founded in 1991, remain as compelling as ever. Lead singer, keyboardist, harmonica player, guitarist, and Bronx native Vic Ruggiero’s thick New York accent is most apparent when he breaks […]

The Slackers, NYC legends, returned to Reggies for the band’s annual Slackfest. Dying Scene was on the floor for The Slackers’ night 2 performance.


The Slackers, founded in 1991, remain as compelling as ever. Lead singer, keyboardist, harmonica player, guitarist, and Bronx native Vic Ruggiero’s thick New York accent is most apparent when he breaks from singing to tell stories. These mini-monologues can be about the music itself, some anecdote about hanging out in NYC, or just a chance to declare “Fuck Ice.” Of course, that last statement was met with roars of approval, as Chicago has been, for months, besieged by the Department of Homeland Security’s fascistic crackdown on immigrants and US citizens alike.


The band is composed of top-notch veteran musicians. I was especially keen on the saxophone wizardry of Dave Hillyard, as I, for a few of my kid years, played the alto sax. When Ruggiero spoke of AI never being able to replicate the beauty of the saxophone he was absolutely right. Hillyard creates pure musical poetry with his saxophone.


But The Slackers is not a two-man crew. Marcus Geard – aka “Bass Man In White” – plays his electric bass as if it were a stand-up bass, propped on a chair bearing “I [heart image] NY.” On this night, he was actually a man in black but oozed his signature cool.


Guitar player Nugent often posts up a bit behind Ruggiero. Though he can sometimes be visually obscured, his playing never is.


Drummer Ara Babajian provides the muscular and steady backbeat for The Slackers. Motoring the band from the back of the stage, his presence and talent is undeniable.


And finally, there is trombonist Glen Pine who, at times, shares vocals with Ruggiero. Pine is also the one Slacker most in motion throughout the band’s set. Sporting a blue ruffled shirt, dancing, getting close to the crowd at the stage front, and with his expressive visage, Pine’s outgoing personality looms large.


As for the music, it was a generous set, with 20 songs. The band drove through the tunes, including “I Still Love You,” “Don’t Let The Sunlight Fool Ya,” “The Whole World Was On It,” “I’ll Stay Away”, “Sarah,” and “International War Criminal.”

The Slackers also covered terrific versions of The Skatalites’ “Christine Keller,” and Sam Cooke’s “Cupid.”


The Slackers members showed their appreciation for Reggies and Chicago, and the crowd returned the love. For a good portion of the fans in attendance, Slackfest is one of the first events to annually be penciled into their calendars. The show was reliably entertaining, and yet each time The Slackers perform, it feels transformative and never seems rote. In troubled times, the humanity of music and the musicians is a hug to the heart and balm for the soul. It also helps that Vic, Glen, Jay, Ara, Dave, and Marcus also seem to be a group of gentlemen with whom sharing drinks would lead to a long evening of funny, poignant, and wild stories. They seem like a good hang. Their shows always are.


See ya next year good sirs! Thanks and Cheers!

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DS Gallery: Teen Mortgage plays the X-Ray Arcade PLUS spreads their own brand of holiday cheer with their newest single (Cudahy, WI, 11/9/25)

Garage-punk duo Teen Mortgage just finished another leg of their tour to promote their newest album, Devil Ultrasonic Dream. This time we caught up with them at one of the coolest Milwaukee-area venues, X-Ray Arcade, along with supporting bands Alex Vile and Bev Rage & The Drinks. Check it out! Voted Chicago’s Best Punk Band […]

Garage-punk duo Teen Mortgage just finished another leg of their tour to promote their newest album, Devil Ultrasonic Dream. This time we caught up with them at one of the coolest Milwaukee-area venues, X-Ray Arcade, along with supporting bands Alex Vile and Bev Rage & The Drinks. Check it out!


Voted Chicago’s Best Punk Band in 2024, Bev Rage & The Drinks opened the night with their loud, fast, and unique stage presence. Drag queen Beverly Rage towers over the crowd in high heels and tall hair, delivering a fun theatrical and unapologetically queer performance. 



Tacoma, Washington’s Alex Vile began as a solo project by guitarist and vocalist Alexandra Vilenius and has since transformed into a solid 4-piece indie grunge band. Staying true to their Seattle-area roots, Alex Vile has all the vibes of an early 90’s alt rock band.



Teen Mortgage is still as fast and rowdy as ever as this leg of the tour comes to a close, echoing the common message of existential dread that we’ve all been feeling: damn ya’ll, shit’s fucked. 

“Have you seen A Bug’s Life?” Asks guitarist/vocalist James Guile between ripping through songs of their politically charged album Devil Ultrasonic Dream. The 1998 animated film has deeper themes of anti-capitalism and class struggle, akin to many of the band’s songs.


The band just dropped a new single “Below the Christmas Tree” that is anything but your typical holiday track.

On the new song, James Guile shared, “We wanted to give people a new Christmas song to throw in their rotation because the usual Christmas hits get tedious to listen to. The song is a satire of people’s tendency to ignore the world and embrace consumerism during Christmas and the way they would continue the tradition in the face of a nuclear holocaust. But the flip side of that is that Christmas is a call for peace.”


The band is also partnering with Super Skate Posse and the Boys and Girls Club of Baltimore to provide 50 pre-selected, area youths with new skateboards, helmets, and Converse sneakers, along with a skate demo and music performance in Baltimore. 

The event will take place at the Skatepark of Baltimore on Saturday, November 22nd and will include demos from professional skaters Brian Anderson, Darren Harper, Spencer Brown, and Tony Massey, as well as a full performance from the band.

Post-holidays Teen Mortgage is slated to tour with Joyce Manor, Militarie Gun, and Combat next spring.



Check out the full galleries below!


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Murder City Devils

DS Gallery: Murder City Devils with support from AnUngulate (The Chapel, San Francisco, Night II, 11/1/25)

Murder City Devils played to a packed house at The Chapel on Saturday night in San Francisco. They came out swinging and never let up. It felt like old-school chaos in the best way. From the first note, the room erupted. Hands shot into the air as the crowd shouted every word, bodies moving in […]

Murder City Devils played to a packed house at The Chapel on Saturday night in San Francisco. They came out swinging and never let up. It felt like old-school chaos in the best way.

From the first note, the room erupted. Hands shot into the air as the crowd shouted every word, bodies moving in a blur of pit energy.

Murder City Devils live

Frontman Spencer Moody, wearing a “You’re on Looted Land” shirt, championing for change in our country’s great divide. Holding onto the Halloween weekend spirit, drummer Coady Willis kept time in a Vincent Price tee.

It was cathartic and wild, a release that only a Murder City Devils show can deliver. For longtime fans, it was pure nostalgia.

The night kicked off with goth indie rockers, AnUngulate.

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DS Show Review and Gallery: Violent Femmes at the Salt Shed. Chicago (10.17.2025)

Legendary Milwaukee folk punk group Violent Femmes made its annual stop in Chicago recently. This time, The Salt Shed hosted the band’s sold-out stop on its “Grasp and Reach For a Leg of Hope” tour. It was a fun night filled with classic tunes and good vibes. Violent Femmes had this night all to its […]

Legendary Milwaukee folk punk group Violent Femmes made its annual stop in Chicago recently. This time, The Salt Shed hosted the band’s sold-out stop on its “Grasp and Reach For a Leg of Hope” tour. It was a fun night filled with classic tunes and good vibes.


Violent Femmes had this night all to its quirky own and made quite the entrance. Singer, guitar, banjo and violin player Gordon Gano entered on stage, but his bandmates marched in from the back of the crowd. Kicking the set off with “Olinguito” set the tone for a night of the band’s trademark whimsy. If you are not familiar with the word in that song title, Olinguito is the name of an Andes-dwelling member of the raccoon family.


Along with Gano, Violent Femmes is composed of bass player/multi-instrumentalist Brian Ritchie, John Sparrow on drums and percussion (a Weber grill being part of his setup) and Blaise Garza on the saxophone, including the gigantic contrabass saxophone, and flute.


While the audience appeared to skew older, people who have likely followed the band from the start, there were also quite a few younger fans in the crowd. I met two sets of fans in their 20s, one from Los Angeles and one from Texas with another thing in common. These fans have followed the band across the country, catching multiple shows on this tour. The thing with fans of the Violent Femmes is they truly are the very definition of diehard fans. And on this night, per usual they were heartily rewarded for this.


The rousing 22 tune set included the biggest hits, including “Blister in the Sun,” “Kiss Off,” “Gone Daddy Gone,” “I Held Her in My Arms,” “Add It Up,” “Please Do Not Go,” and their traditional closer, “American Music.” Every one of these tunes sounded like a full venue sing-along as the crowd amplified each and every lyric.


The set list also included “Prove My Love,” “Waiting for the Bus,” “Country Death Song,” “For All Those Who Love,” “Jesus Walking on the Water,” “Good Feeling,” and “Betrayal,” among others.


Violent Femmes shows are always reliably joyful experiences. This show was no exception. It was apparent per usual, that the band was having as big a blast as its fans in the crowd were having.


The show also undoubtedly kicked off a weekend of good vibes for many in the crowd. The day after this show, the second “No Kings” march took place worldwide. An estimated 7 million people peacefully marched to oppose the encroaching authoritarianism and to declare there shall be no kings ruling the United States. I imagine quite a few of those fans rocking out to the Violent Femmes also laced up their shoes and hit the streets the next day, joining fellow citizens to push back on the fascist policies presently being instituted by carried out by the Executive Branch and its allies in Congress.


I have been fortunate enough to document several Violent Femmes shows in recent years. Hoping this continues for years to come. If you have never had a chance to catch them, I recommend you do so at your very next opportunity.

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DS Show Review: Circuit Breaker – Cambridge w/The Pietasters, The Kilograms, Doped Up Dollies and more!

If you’ve been reading DS for a while, you’ll know that I count myself amongst those who got into the punk and ska scenes of the Boston area in the mid-1990s. Part of what drew a countless number of us to the scene was the anti-racist, anti-fascist messaging and the way kids from all walks […]

If you’ve been reading DS for a while, you’ll know that I count myself amongst those who got into the punk and ska scenes of the Boston area in the mid-1990s. Part of what drew a countless number of us to the scene was the anti-racist, anti-fascist messaging and the way kids from all walks of life could revel together in the chaos, picking each other up when we fell along the way. It’s a little bit of “old man yells at cloud” to lament that the scene has changed so much over the years, but thanks to the good folks at Riot Squad Media – the same crew who brings you the wonderful Camp Punksylvania every summer – there’s a new throwback game in town. It’s called Circuit Breaker, and it’s basically a series of jam-packed, barn-burner shows in and around the Northeast that feature a fine mix of ska and melodic punk bands that serve to give the DIY community a shot in the arm and light – or relight – the way for punks of all ages to keep coming together.

The – dare I say legendary? – downstairs at the Middle East in Cambridge, Massachusetts’s Central Square was the setting for the maiden voyage of Circuit Breaker. The Middle East – both downstairs and upstairs – is a venue that it felt like I practically lived at for a time, especially during college. I hadn’t been to the larger, downstairs venue since a few years pre-Covid, but before even hitting the bottom of the stairs, it was evident that very little had changed. The low-ceilinged, dimly-lit, no-frills venue was the site of many dozens of punk and ska shows that essentially molded my formative music-loving brain in the mid-late 90s, and seeing Big D and The Kids’ Table frontman David McWane on stage immediately brought me back to that place and time.

There were seven bands on the bill for Circuit Breaker which, for a show with set times that kicked off at around 7pm (6:55pm if we’re being totally accurate), seems bananas and seemed destined at least in my mind to go way over time. In the interest of full disclosure, life obligations and parking kept yours truly from getting to the venue until the 8 o’clock hour, which sadly meant missing sets from Niagara Falls’ Working Class Stiffs and Reading PA’s The What Nows and catching about half of McWane’s alter ego band, Cuidado.

We were there, however, for Dayton, Ohio’s The Raging Nathans. Much to the chagrin of a handful of DS staffers, yours truly had never seen the Nathans prior to this show. That was clearly a mistake on my part, I freely admit. The Nathans rule. With little time to waste in order to help the mammoth lineup keep a tight schedule, the band got right to work with a tight, high-powered set that featured a healthy dose of tracks from their latest full-length, May’s Room For One More (Rad Girlfriend Records).


Next up were The Doped Up Dollies. The Dollies are another brainchild of Big D’s David McWane, but this one finds McWane in the background, mostly on percussion and backing vocals duties. Instead, DupD are fronted by the ultra-talented trio of Brie McWane, Sirae Richardson (pictured right) and Erin MacKenzie, who combine to bring a fun, high-energy soul to their unique double-dutch reggae sound. Their nine-song set kicked off the PMA-infused anthem “Make Your Own Sunshine,” and had the crowd dancing in the pit from the first notes. The McWane/Richardson/MacKenzi trio might be backed by – at my count – an eight-piece band, but their interplay and doo-wop harmonies are very much the engine that keeps it moving, highlighted as always by their interplay on earworms like “Be Free” and “Black Cat.”


The penultimate spot on the bill belonged to a band that is perhaps my favorite new band of the last couple of years, The Kilograms. The band kicked things off with “No Reaction,” a song that appeared on co-frontman Joe Gittleman’s 2024 solo album, Hold Up. After a quick mid-set guitar change to swap out a finicky Telecaster, KG’s co-frontman Sammy Kay took over lead vocal duties on the danceable “Every Street.” This was followed by early single “I Swear” and then a set that leaned heavily on the band’s debut full-length, Beliefs & Thieves, with a slow-burn cover of the Gittleman-penned classic “Lean On Sheena” thrown in for good measure. Guitarist J Duckworth and keyboardist Craig Gorsline serve as spark plugs, constantly rocking and dancing on stage and encouraging the audience to do the same. Extra-special props to fill-in drummer Alex Brander, who was behind the kit for the third time in four sets after also appearing in Cuidado and the Dollies. The band closed their set with a super fun rendition of another Gittleman-penned solo track, “Glimmer.”


Which brings us to the evening’s headliners, none other than The Pietasters. In a fun and playful moment, the Baltimore ska vets started their set with their own rendition of Gittleman’s “Glimmer,” much as they did on the split 7-inch they released together last year. The very first time I saw the Pietasters – nearly 29 years prior to this show – they shared the stage with Gittleman’s old band, so it was a fun full-circle moment for me to catch them sharing a legendary Boston-area venue again. As an added bonus, Gittleman’s old bandmate, Chris Rhodes, was a trombone-wielding Pietaster for the night! After “Glimmer,” the band made their way through another fun and soulful set that was heavy on tracks from their sophomore album (and my favorite one), 1995’s Oolooloo.


All in all, it was really a brilliant evening filled with connection and positivity, the kind of things that prompted so many of us to gravitate to this scene decades ago. In an increasingly dark and negative world, it’s so important to have evenings like this filled with people shining light in the darkness, standing up for the trans kids and immigrants and the working class who are continually trampled on in newer and more horrifying ways. Have a look at a bunch more pictures from the fun and festive evening down below. And make sure to follow the Riot Squad Media crew on social media to keep an eye on where you can find Circuit Breaker popping up next (like Scranton Skaliday’s throwdown in PA next month)!


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DS Show Review: Skalloween with La Pobreska, Los Rudos, Undisputed World Champions, and Trinidad Suave in Riverside, CA (10/11/25)

Smelvis Records nailed it again with their annual Skalloween show and for it’s 24th year, it was a celebration of all things spooky, Spanish, and skanking. There was also a costume contest, so dressing up was encouraged which was awesome to see so many characters ripping it up in the pit. So if you were […]

Smelvis Records nailed it again with their annual Skalloween show and for it’s 24th year, it was a celebration of all things spooky, Spanish, and skanking. There was also a costume contest, so dressing up was encouraged which was awesome to see so many characters ripping it up in the pit. So if you were wondering, Beetlejuice, Spider-Punk, Nacho Libre, and Shrek are all ska fans!

Based in the Inland Empire, Romano’s Chicago Pizzeria is located inside a Riverside shopping center. You would never guess that attached to it is a perfect intimate venue for punk shows. I thought we were at the wrong place until I saw people standing outside in costumes. The creativity was mind blowing and the energy was unmatchable. It wasn’t just the crowd either. The stage was decorated with skeletons, creepy dolls, and all kinds of Halloween props.

The first band to play was Trinidad Suave from South Central, and immediately the entire crowd was jumping. They played for about 45 minutes and frequently brought up current political/societal issues, while giving advice on how to deal with them, which is one thing I deeply appreciate. Then they gave the stage to Undisputed World Champions.

Undisputed World Champions turned up in bulletproof vests, keeping the energy with their amazing sound and stage presence. Their front man really knows how to control a crowd. Even when they switched it up and shocked everyone by doing a cover of Oasis’ “Wonderwall”, the audience was still intrigued… they were that good! After their 45 minutes was the next band on the lineup, Los Rudos, a Spanish ska core band playing in their hometown. They were insanely talented. Their technical skill was awesome but it was the bass lines that really stole my heart and left me eager for more.

Finally, it was time for the headliner and after an anticipating warm up, La Pobreska started out the set with their song “El Inmigrante“. The entire room collided in a beautiful chaos. Those are some damn talented musicians. Each one of them, from the vocalists, to the trombonists, are so fluent yet so intense in everything they do. And the crowd was brutal to say the least. Especially during “Hasta La Victoria“, “Rebeldia“, and “Las Cruces de Tijuana“. It was over an hour of raw substance, movement, and passion. Their onstage energy and presence is so excellently symbolic, it is a must see.

Smelvis Records 24th annual Skalloween was a night full of outright love and solidarity. Seriously this was one of the most unified crowds I’ve ever been in. I already can’t wait until next years.

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DS Gallery: Riot Fest 2025 comes to a close with IDLES, Jawbreaker, Bad Religion and more favorites!

We have the final day’s gallery of Riot Fest 2025! Dying Scene caught a ton of killer bands…IDLES, Lambrini Girls, Jawbreaker, Bad Religion? An unforgettable headlining performance from Green Day? This might have been the best day yet. Check it out! British post-punk band IDLES may have had one of the best performances of the […]

We have the final day’s gallery of Riot Fest 2025! Dying Scene caught a ton of killer bands…IDLES, Lambrini Girls, Jawbreaker, Bad Religion? An unforgettable headlining performance from Green Day? This might have been the best day yet. Check it out!


British post-punk band IDLES may have had one of the best performances of the day with their insane energy; right out of the gate guitarist Lee Kiernan ricocheted into crowd, sending fans into a frenzy. Jack White made an appearance joining IDLES performing “Never Fight a Man With a Perm” and if that was not enough, Soft Play took the stage as well for “Rottweiler”.


I hyped up Soft Play a lot in the last year; first in my top picks of 2024 for their song “Act Violently” and album Heavy Jelly, and again for their sold out show at Chicago’s Bottom Lounge in April with Babe Haven. No surprise, Soft Play’s Riot Fest performance was also fantastic and insanely fun. The two-piece duo Isaac Holman and Laurie Vincent own the stage wherever they play.



Keeping up with the English punk rock theme, Lambrini Girls hit the ground running with the release of their debut album Who Let the Dogs Out on January 10th, 2025 via City Slang Records. The record received widespread praise and charted at #16 on the UK Albums Chart. The album has themes of calling out misogyny, transphobia, homophobia, and politics with their live shows being no different. Personally, they are also one of my favorite bands and finally seeing them live at Riot Fest was nothing short of magical.


Influential and poetic Jawbreaker played a highly anticipated set at Riot Fest. Their controversial major label debut Dear You was released 30 years ago on September 12th, 1995 (and we are so happy they are back!).



Fans flocked early Sunday for Footballhead as they opened the day. I became a fan of Chicago-based alt rock band after hearing their single “Face to Face” on a local college radio station.


Atlanta pop punk band The Paradox was not previously on my radar but I can say I became a fan after their Riot Fest performance. Outrageously fun, the band quickly rose to stardom after just a short period of time opening for Green Day and playing at Warped Tour.



British math rock Delta Sleep played an intricate and melodic guitar-driven set.


Punk rock staples Bad Religion performed a powerful album play-through of 1988’s Suffer.



Take a look back at our day one and two galleries if you’re feeling nostalgic. Riot Fest may be over but we are already thinking about what magic they are cooking up for next year. What’s your dream lineup? We’re dying to hear about it!

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