AFI is currently on a Fall tour of North America to promote their newest album, Silver Bleeds the Black Sun…, released on the same day of their concert at Chicago’s Salt Shed on October 3rd. The tour marks the first full-scale tour since their 2021 album Bodies. The ever-evolving band has made shifts in every […]
AFI is currently on a Fall tour of North America to promote their newest album, Silver Bleeds the Black Sun…, released on the same day of their concert at Chicago’s Salt Shed on October 3rd. The tour marks the first full-scale tour since their 2021 album Bodies.
The ever-evolving band has made shifts in every album, from hardcore, emo, post-punk and genres in between, always pushing the envelope and being their bold, unapologetic selves. With the release of Silver Bleeds the Black Sun…, AFI may have reached their final form and what they were always meant to be; a post-punk gothic rock powerhouse reminiscent of the likes of Bauhaus, Sisters of Mercy and The Cure.
To help set the mood, the Canadian electronic project TR/ST opened for the evening, transforming The Salt Shed into a synthesizer-heavy dark wave night club.
One thing that remains steadfast during AFI’s transformations? The fans. Between powerful lyrics, dark romanticism, melodic riffs, and Davey Havok’s showmanship (not to mention his own fashionable image), seeing AFI live is nothing short of immersive and feels like home.
AFI played an expanded set list across their discography in addition to songs from Silver Bleeds the Black Sun…, including the album’s leading single “Behind the Clock” and a debut performance of “Ash Speck in a Green Eye“. Also notable was the performance of “File 13” from their 1996 album Very Proud of Ya.
Davey and AFI have not slowed down one bit over the years and their live shows are a testament to that. High energy, jumping from platforms, crowd participation and even being held up by fans while standing, you can tell AFI genuinely love what they do and their fans. Whatever the next era may hold for AFI, we the fans are here to stay.
It’s 2004, a time when we burned CDs, had Myspace profiles, Purevolume, and had to find a ride to the local VFW hall. Bayside had just released Sirens & Condolences, and in our adolescence there wasn’t much to worry about beyond heartbreak, friendships, and what the next show was. Life felt heavy then, but looking […]
It’s 2004, a time when we burned CDs, had Myspace profiles, Purevolume, and had to find a ride to the local VFW hall. Bayside had just released Sirens & Condolences, and in our adolescence there wasn’t much to worry about beyond heartbreak, friendships, and what the next show was. Life felt heavy then, but looking back, my worries were simple.
Fast forward twenty-one years, they revisited that era head-on, celebrating 25 years by diving deep into their first four records: Sirens & Condolences, Self-Titled, The Walking Wounded, and Shudder. For fans like myself who grew up with those albums, the night felt like both a reunion and a reminder of just how much those songs still mean to myself and everyone there.
The Sleeping came along to open up on the last leg of the tour.. which was such perfect choice to keep up in the peak 2000’s post-hardcore energy. Playing deep cuts, and also fan favorites like “Don’t Hold Back” and “King of Hearts” had the crowd moving early. For myself and many others, it somehow felt like a reunion within a reunion — as they were were staples of the mid-2000s Long Island/NYC hardcore scene that Bayside also came up alongside.
Bayside’s set opened up with the classic “Montauk”, pulling us all back to where it began.. back to 2005-ish nights at now-legendary venues like Maxwell’s in Hoboken, NJ (R.I.P.) or Crocodile Rock in Allentown, PA (also R.I.P.). Hearing these first three albums live again in 2025 truly felt like unlocking a time capsule that was never really locked in the first place.
Of course other classics like “Masterpiece” and “Devotion and Desire” had the crowd singing back at volume that nearly drowned out the actual band’s vocals. Deeper cuts like “They Looked Like Strong Hands” and “Carry On” gave the night even more sense of nostalgia.. reminding us that Bayside has always been more than just an influential band that we grew up with, but still a part of who we are now.
If you’ve been to The Stone Pony, you know the intimacy and history that this venue carries. The distance between bands and audience is basically non-existent, and becomes a room full of friends who had grown up with these songs, living them again together. Every show at The Pony is underscored by decades of legends who’ve played the same stage.. and Bayside has definitely contributed to that legacy and history.
Twenty-five years later, it’s like we forgot all of the years that have passed since the basement and VFW shows. We may have grown up, grown some back pain, but we haven’t grown out of our roots. Cheers to 25 years and many more to come!
Check out more photos and galleries from night one of 25 Years of Bayside: The Errors Tour on Instagram!
The First Unitarian Church basement has long been a rite of passage for anyone steeped in queer DIY culture. Low ceilings, concrete floors, BYOB, and one of those sick-ass carpets you only ever saw in kindergarten classrooms have all set the stage for generations of legendary shows (Jimmy Eat World, Bouncing Souls, Jeff Rosenstock, The […]
The First Unitarian Church basement has long been a rite of passage for anyone steeped in queer DIY culture. Low ceilings, concrete floors, BYOB, and one of those sick-ass carpets you only ever saw in kindergarten classrooms have all set the stage for generations of legendary shows (Jimmy Eat World, Bouncing Souls, Jeff Rosenstock, The Get Up Kids — just to name a few). That night was all about glitter, leather, and bare butts as Hunx and His Punx descended on Philadelphia, joined openers Tchotchke. Together, they conjured something that played out like a John Waters fever dream.
Tchotchke kicked things off with a set that balances retro-pop hooks with garage grit, truly an homage to ‘60s progressive girl-group shine. Doing a cover of The Tammy’s “Egyptian Shumba” was a peak moment for myself.. often cited as one of the earliest proto-punk songs led by an all-girl group, and one of my personal favorites (so maybe I’m biased).
This tour marked a long-awaited return for Hunx and His Punx, who hadn’t released an album or hit the road in years. Their latest record, “Walk Out On This World”, and tour feel less like a comeback and more like a loud reminder of why they’ve always mattered in the first place. For fans who’d been waiting the last 10+ years, the night carried the charge of reunion energy: part celebration, part exorcism, all catharsis.
They truly wasted no time transforming the basement into a re-united, sweaty, leather dance hall. The setlist was an absolute joyride.. from new songs about being “Alone In Hollywood On Acid”, to some of our favorite classic anthems.
A big part of the band’s power comes from Shannon Shaw (front queen of Shannon And The Clams), whose basslines (and one of my personal favorite bassists of all time) anchor the chaos and whose vocals cut through with a such soul that contrasts Seth’s fire. Her presence on and off stage balances the spectacle, grounding the mayhem with something steady and undeniable.
Didn’t have enough from the day one gallery of Riot Fest 2025? Well here’s our day two with more album plays and a stacked lineup! The Bouncing Souls played through their 2001 hit album How I Spent My Summer Vacation with fans singing along to every song (of course). Day two of Riot Fest had […]
Didn’t have enough from the day one gallery of Riot Fest 2025? Well here’s our day two with more album plays and a stacked lineup!
Day two of Riot Fest had a good variety of post-hardcore/emo bands with Citizen being one of them. Citizen is no stranger to Chicago or Dying Scene, last playing here with Movements and Scowl at the Aragon Ballroom.
Staying on the emo theme, Nashville’s Free Throw performed an energetic and melodic set.
Rock legends, The Dwarves, were in Calgary last Sunday night for one of only two Alberta dates. The show took place at the Blox Art Centre, an all-ages venue, and featured three local bands: Tipless and Julius Sumner Miller, both from Calgary and Edmonton’s Vargouille. The Blox Art Centre was perfect for a punk show […]
Rock legends, The Dwarves, were in Calgary last Sunday night for one of only two Alberta dates. The show took place at the Blox Art Centre, an all-ages venue, and featured three local bands: Tipless and Julius Sumner Miller, both from Calgary and Edmonton’s Vargouille. The Blox Art Centre was perfect for a punk show – small, dark, with a stage practically on the floor. It was shaping up to be a great night, even for the younger crowd.
First up was Tipless. This female-fronted five-piece delivered a raw and gritty set, the perfect opening act for the night. They screamed their way through a powerful performance, pulling the audience closer and gaining fans with each song.
Next up was Vargouille, who, despite not being on the original bill, fit right in with their hardcore sound. Immersing themselves in the audience, as fans went wild. Their heavy tone and distinct style won over the crowd with ease.
By the time Julius Sumner Miller took the stage, the room was packed. A local favorite, JSM delivered a loud and energetic performance. They played a set of crowd-pleasing tracks, including “St. Teresa,” “Cheap Parmesan,” “This Town Sucks,” and SNFU’s “Drunk on a Bike.” The audience loved it, singing along throughout their entire set.
When The Dwarves hit the stage, they immediately got into it, and the crowd was ready. They delivered a stellar set – high-energy, chaotic, and flawless. Frontman, Blag Dahlia, shared the mic with the fans, belting out lyrics from their vast discography, while everyone screamed along at the top of their lungs. The Dwarves played over two dozen classics, like “Demonica,” “Back Seat of my Car,” “Anybody Out There,” and “The Dwarves Are Still the Best Band Ever,” covering almost everything you could want. Because the best band ever never disappoints, their encore blew everyone away. Small punk shows like this are our favorite, and they’re even better when The Dwarves are playing. Obviously, we can’t wait for the next show!
Chicago’s annual punk rock music festival celebrated its 20th anniversary from September 19th-21st with three jam-packed days of legendary music acts, full album play sets, and some notable local Chicago punk bands to celebrate Riot Fest’s Chicago roots. Opening day included headliners Blink-182, “Weird Al” Yankovic and Alkaline Trio. No matter your musical preference, there’s […]
Chicago’s annual punk rock music festival celebrated its 20th anniversary from September 19th-21st with three jam-packed days of legendary music acts, full album play sets, and some notable local Chicago punk bands to celebrate Riot Fest’s Chicago roots. Opening day included headliners Blink-182, “Weird Al” Yankovic and Alkaline Trio. No matter your musical preference, there’s something for everyone to enjoy. Let’s get on with day one!
Alkaline Trio performed an album play-through of their second studio album, Maybe I’ll Catch Fire. We took a look back at this album released 25 years ago, check out that review here!
Celtic punk legends The Pogues featured an expanded line up to celebrate the 40th anniversary of their album Rum Sodomy & the Lash.
Touché Amoré ran the stage with their energetic and powerful vocals and equally enthusiastic fans.
One of the newest bands on my radar is The Barbarians of California, a metallic hardcore band from…California! With the tag line “They’re your new favorite band,” the act is collaboration from Aaron Bruno of AWOLNATION and producer/engineer Eric Stenman.
Chicago’s own metalcore group Harm’s Way joined the lineup of an already impressive amount of hardcore bands playing at Riot Fest. They are currently touring with the blackgaze powerhouse Deafheaven.
The New York hardcore punks Agnostic Front need no introduction. They performed their 1984 debut album Victim in Pain in its entirety.
A band I never had the chance to see live I was looking forward to on this day was The Didjits, a punk band formed in 1981 in Mattoon, Illinois (that’s just under 200 miles south of Chicago). They released five full-length albums through Chicago’s Touch and Go Records, an independent label that has a roster including the likes of The Jesus Lizard, Die Kreuzen, The Effigies and many more.
Honey Revenge is pop punk from California and slay on stage. Consisting of Devin Papadol on vocals and Donovan Lloyd on guitar, Honey Revenge bring an immense amount of fun energy on stage that you cannot help but dance and sing along to. On top of that the overall aesthetics is pretty fabulous if you ask me.
Harrison Gordon is “emo guitar music” from Normal, Illinois and they have made a name for themselves in the Midwest indie scene. Their latest EP Spring Break! was released in March of this year.
Last in our day one gallery (but certainly not the least) is another Chicago-local band La Rosa Noir. Part post-punk, part Midwest surf, La Rosa Noir has been conquering the Chicago music scene with their eclectic sound and dark hypnotic vibes.
Back at the close of the 1990s, recent Epitaph Records signees Bouncing Souls and H2O teamed up for a run of dates that the former affectionately referred to as the East Coast Fuck U! tour. More than a quarter-century later both bands have changed record labels and drummers (Souls’ Shal Khichi was replaced by Mike […]
Back at the close of the 1990s, recent Epitaph Records signees Bouncing Souls and H2O teamed up for a run of dates that the former affectionately referred to as the East Coast Fuck U! tour. More than a quarter-century later both bands have changed record labels and drummers (Souls’ Shal Khichi was replaced by Mike McDermott in 2000 and then by Hot Water Music’s George Rebelo in 2013; H2O frontman Toby Morse’s son Max took over drum duties for his pops’s band from Todd Friend a couple years back) – the two powerhouse punk and hardcore stalwarts teamed up for another go at it. The 2025 version of the East Coast! Fuck You! tour was broken into four legs spread out over the bulk of the year, with the Northeast run setting things off in Boston on 9/18/25. Along for the ride on this leg of the tour were Chicago icons Smoking Popes and the comparative upstart, high-energy ska-punk machine that is JER. The result was a celebration that even though the bands in the collective lineup have been plying their punk rock wares for over a combined century, they can still unite to pull off one of the most fun and intense nights of the show-going year.
JER – the band – kicked the evening off at Boston’s 1000-capacity Royale nightclub at 7pm sharp. JER – the band’s leader, perhaps best known for their trombone duties in We Are The Union or, more likely, for Skatune Network – commented early in the set that this marked the first time that the current JER touring lineup (which includes Emily Williams and Ricky Weber and Esteban Flores and Elwood Bond) had played together, though you’d never know it given how tightly they wove through a setlist that included bangers like “Bothered” and “Silence Is Violence” and personal favorite “Tryin, I Really Am.”
Speaking of bands with fairly new lineups, Smoking Popes were next out of the chute. Longtime bandleader Josh Caterer was joined on this run by Ruben Baird on bass and Jack Sibilski on guitar as he has been for the last several years since his brothers Matt and Eli opted out of large-scale touring. Longtime Popes drummer Mike Felumlee also sat out this run of shows, meaning that some time Josh Caterer collaborator John Perrin was manning the kit for the time being. I suppose it says something about the strength of the lineup when a band as esteemed as the Popes are allotted a thirty-minute, second-of-four spot on the bill, so they wasted no time in making their mark on the evening. The new-look quartet ripped into “Golden Moment” from this year’s Lovely Stuff to set the tone for their set, and never really let off the accelerator for the duration of their eight-song set. “Welcome To Janesville” from 2008’s Stay Down was a pleasant surprise, as was what I think was the live debut of my personal favorite Lovely Stuff track, “Never Gonna Break.”
Everyone’s favorite purveyors of hardcore PMA, H2O, occupied the direct support slot. I’ve said a bunch of times on this site that I’ve never been much of “a hardcore kid,” but I’ve always had a soft spot for H2O’s sense of melody and, of course, PMA. The band kicked things off with an Ozzyfied rendition of their anthemic “5 Yr Plan” that brought the first of many crowd surfers to the front of the barricade-less pit. Now in that situation, one’s only real choice is to get up on stage, rock out for a second or two, and stage dive back into the abyss. It’s worth mentioning I suppose that a good number of attendees at a Bouncing Souls/H2O/Smoking Popes show circa 2025 – myself very much included – are well above what would have been their prime fighting weights had the same tour occurred in 1997, so this made for more than a handful of awkward half-leaps into a portion of the crowd that didn’t seem overly willing andor able to catch their plus-sized show-going brethren. Perhaps many of us should start taking fitness lessons from longtime H2O bassist Adam Blake. Anyway, the band stayed pretty much to the hits, plowing through a dozen songs that came mostly from their early self-titled-Thicker Than Water – F.T.T.W. run of records. This was very much a set for the old heads to revel in the camaraderie and the community that come with the territory in an H2O set, especially in their old northeast stomping grounds.
Which brings us to the band of the hour, the incomparable Bouncing Souls. I know I’ve said it a ton on these pages over the last decade, but I genuinely feel like the Souls continue to get not only better and better, but more and more important in the annals of punk rock history. They continue to set an example not only to the younger generations but to their peers about how you can continue to grow as a band and navigate the tumultuous waters of the 21st-century music industry while still staying vital and not losing so much as a mile per hour off your musical fastball (ankle injuries be damned). “Hopeless Romantic” kicked things off in epic fashion, instantly building off the frenzy that H2O really got started with their set. The barrage continued with “E.C.F.U.” and “Manthem,” the latter of which prompted frontman Greg Attonito to give the crowd a reminder that when jumping from the stage into the crowd, it’s best to do so to an area of the crowd in which there’s a crowd to actually catch you.
Souls’s guitarist Pete Steinkopf played most of the set propped against a chair, his right leg in a walking boot after a recent injury – not unlike Attonito’s own soccer injury that had him similarly booted up late last year, through and including the Souls’ epic Home For The Holidays run. The rhythm section of Bryan Keinlen and George Rebelo remain as locked in as ever, keeping the engine pinned full-steam-ahead without careening things out of control. The twenty-five-song set included a great mix from across the band’s three-plus decade career, including new tracks “United” and “Power,” the latter of which wouldn’t be officially released for streaming purposes until the following day. (Also, fun fact, I think yours truly appears ever-so-briefly in the “United” video…see if you can spot me!) What I guess we’d call the main set closed with “The Freaks, Nerds and Romantics,” but instead of taking an encore, Attonito grabbed the acoustic guitar for a rendition of “Ghosts On The Boardwalk” before being rejoined by the rest of the crew midway through “Ship In A Bottle.” The crowd-favorite anthems “True Believers” and “Gone” brought the evening to a close in singalong fashion, once again proving the point that with a little love and unity, we can collectively find some light in the ever-increasing darkness.
The Descendents were in town last week for their Canadian tour, along with the Buzzcocks and the pop-punk band, Mattstagraham. The all-ages show was held at MacEwan Hall at the University of Calgary. Mattstagraham was an excellent choice to start things off; their fast, energetic, and melodic pop-punk sound meshed well with the other bands. […]
The Descendents were in town last week for their Canadian tour, along with the Buzzcocks and the pop-punk band, Mattstagraham. The all-ages show was held at MacEwan Hall at the University of Calgary.
Mattstagraham was an excellent choice to start things off; their fast, energetic, and melodic pop-punk sound meshed well with the other bands. Their captivating set got the audience pumped for the rest of the night, featuring tracks from their relatively small but strong discography, including songs from their latest album, Yellow Paint. Tracks like “Still Dumb, Still Rock and Roll” and “Caffeine” were crowd-pleasers, and the set went over well with the audience.
When the Buzzcocks took the stage, you’d have thought they were the headliners. The crowd was hyped, to say the least. Steve Diggle appeared on stage with a harmonica in hand, and everyone was ready. Their performance was amazing, and it was incredible to hear so many of their hits live, including “Orgasm Addict”, “Ever Fallen in Love”, and “Why Can’t I Touch It”. The audience loved the show and was thrilled to be there.
As the Descendents made their way on stage, the crowd went crazy. Milo announced it was Bill Stevenson’s birthday the day before, so naturally, the crowd sang to him. As one of the last stops on the tour, Milo stated they would go all out, and they certainly delivered. They played a ton of their hits, from classics like “Suburban Home” and “Silly Girl” to more recent favorites, such as “Everything Sux”, “I’m the One”, and “On Paper”. It was a stellar performance from start to finish. They kept the crowd entertained with some humor, trying to keep it PG for the kids – mostly fart jokes. Having promised a return to Calgary, they departed the stage, only to come back for a brief encore and play a slew of tracks from their 1986 album, Enjoy. As always, the audience was thrilled and eager for more. We can’t wait for them to come back!
On 2nd September, The Owners opened the night at the Black Cat with a fun energetic set that got the crowd fired up early. The Attack kept the energy going with a punchy, tight performance. Then Stiff Little Fingers closed things out like the legends they are. The club was packed, the energy was real, […]
On 2nd September, The Owners opened the night at the Black Cat with a fun energetic set that got the crowd fired up early. The Attack kept the energy going with a punchy, tight performance. Then Stiff Little Fingers closed things out like the legends they are. The club was packed, the energy was real, and it felt like one of those nights where punk was exactly where it belonged, at the Black Cat! Complete fun from start to finish.
Stiff Little Fingers hit the stage with a bang and delivered a career spanning set of hits, deep cuts, and new songs. Founding members Jake Burns (vocals/guitar) and Alistair Jardine “Ali” McMordie (bass) were joined by longtime members Steve Grantley (drums) and Ian McCallum (guitar).
Before launching into “Mary’s Boy Child,” Burns said the song was about current U.S. President Donald J. Trump’s behavior. Burns said that he decided to name the song after a Harry Belafonte song because Trump’s mother’s name was Mary. After relocating from Chicago, Illinois to a small place in West Virginia, Burns happened to run into the daughter of Belafonte, Adrienne Belafonte Biesemeyer, who also lived in the area and told her the story. Upon hearing it, she said her father would be turning in his grave.
Before performing the Special’s “Doesn’t Make It Alright,” Burns recalled how he and the band fell in love with the Specials and this song before they had even recorded it. Burns and crew attempted to record and release it before the Specials finally did on their eponymous debut album. He further recounted how the Specials’ recorded version was much weaker or wimpier than their live version and that some of members of the Specials liked Stiff Little Fingers’ cover better. Follow the band here.
The Attack brought the energy up a bit and blazed through a set of upbeat, poppy street punk. Longtime members Charlie Bender (vocals), Brad Palkevich (guitar), Mikey Cortes (bass) and were joined by original drummer Tito Esquiaqui. Bender expressed his admiration for many of the DC punk and hardcore pioneers who paved the way for bands like his and the audiences that support them. Dying Scene’s head huncho, Jay Stone, conducted an interview with Bender and Palkevich back in 2015 and you can check out here. Find them here.
Washington, DC’s The Owners includes Black Cat owners Dante (drums) and Catherine Ferrando (vocals) along with famous bartenders Laura Harris (bass) and Alec Budd (guitar). The band tore through one fun punk rock n roll song after another. They played their new single, Monster, which was released digitally on 28 August 2025. They said it would be available on vinyl in November 2025. Be sure to find them here.
It was a packed house at Modern Love last Saturday evening; Joey Cape, Dave Hause, Tim Hause and local musician Jay James were on the bill, and it was perfect. Jay James, the local artist, kicked things off. His rockabilly-folk sound immediately captivated the crowd, getting everyone in the mood for a great night. It’s […]
It was a packed house at Modern Love last Saturday evening; Joey Cape, Dave Hause, Tim Hause and local musician Jay James were on the bill, and it was perfect.
Jay James, the local artist, kicked things off. His rockabilly-folk sound immediately captivated the crowd, getting everyone in the mood for a great night. It’s hard to believe it’s been 15 years since his last performance.
Next up was Tim Hause, performing solo for this Canadian tour and happy to be back, he played songs from his debut album, plus a few tracks from his latest album, Pre-Existing Conditions, including “Tyrannosaurus RX” and “Fear Ate My Faith.”
Shortly after, Dave Hause took the stage and announced a surprise: he and Joey Cape would alternate playing songs for the rest of the evening, each doing five-song sets, with Joey closing out the night. Dave, along with his brother and collaborator Tim, started the alternating performances. He played songs from his entire discography, including his work with The Mermaid, covering everything from old favorites like “Dirty Fucker” to newer tracks, including songs from his new album, …and The Mermaid. He even threw in “Jane” from his Loved Ones days.
When Joey Cape took the stage, the crowd went wild. He ditched the planned setlist and took requests from the crowd instead. After laughing off some of the suggestions and promising to prepare for his next visit, he launched into a mix of songs. From Lagwagon tunes to his solo work and everything in between, the legendary musician with an impressive catalog played whatever he could. He kicked things off with the fan-favorite Lagwagon classic, “May 16th,” and I’m sure his spontaneous performance didn’t disappoint anyone. We’re always happy to host the Caper when he’s in town.
