DS Show review: Jawbreaker, The Get Up Kids, and Rosie Tucker

One of the few bands I will drop everything to go see is Jawbreaker, this set reminded me why. Since reuniting in 2017, it seems the band gets together for a handful of shows, mostly in bigger cities. This tour announcement was no different. It didn’t seem like there was too much time between when the tickets went on sale for their Chill of Fall 2025 tour and last night’s first show. It was nice not to drive out to Los Angeles to see them on a school night this time, even if they were playing the House of Blues Anaheim.

I have written about my disdain for it. The thought mostly remains the same this time around. I was expecting mostly an older crowd, but was happy to see some kids without parents who had forced kids to go with them. Not that there is anything wrong with that; I’m cut from that same cloth. I was able to get my merch relatively quickly and find a decent spot. I think it was sold out, but it wasn’t elbows to assholes, as it has been for other shows I have been to there. It was a much more enjoyable time than the last visit. Maybe it’s the type of people certain bands attract.

Singer/Songwriter Rosie Tucker opened the night. Tucker played a thirty-ish minute set with songs such as “Barbara Ann” and “Airport” from their 2021 album Sucker Supreme and the title track from their latest album, Utopia Now. Skilled at the guitar and writing lyrics, Tucker’s set was fun. Their clean guitar, paired with seemingly normal lyrics until you get to the meat of the song, was a fun addition to the night. Having not had a chance to listen to the full albums, it makes me wonder what some of these would sound like with a full band. Tucker had a lot of energy and a lot to say. They were just as excited for the night as we were.

Given that the opening act was just Rosie Tucker and a guitar, setup for The Get Up Kids was relatively quick. I’ve never given The Get Up Kids a fair chance. It’s not that I don’t like them. I like what I’ve heard, but it just never stuck. Many friends have put them on for me and something doesn’t strike for me. However, as I get older, I will revisit some bands I feel like I should like. The Get Up Kids are one of those bands, and Something to Write Home About is typically the album I dive into when I do. It helped that this time Matt Pryor and crew were playing it in full. The album itself is forty-five minutes long, it didn’t leave too much time for banter in between. The band made the unsurprising confession that they were also Jawbreaker fans, and that “Long Goodnight” was essentially the band’s take on one of their songs. The Get Up Kids have been on a twenty-fifth anniversary tour for Something to Write Home About for about a year and a half, while their playthrough of the album sounds very practiced, it is definitely not road-weary.

Finally, it was time for the main event. The last time I saw Jawbreaker was from the balcony at a much bigger venue; this time, I made sure I would be closer. When the lights went out, the band came out to the theme of the 1979 film, The Warriors, which I believe they did on their last tour as well. Blake came out clad in a black jumpsuit and introduced the band as Jawbreaker from America and then tore into the Dear You track, “I Love You So Much It’s Killing Us Both.” Despite the thirtieth anniversary of Dear You being a week away from this performance, the setlist wasn’t heavy on songs from the album. Jawbreaker managed to fit in a good mix of songs from 24 Hour Revenge Therapy, and a couple of deeper cuts with “Fine Day” from Unfun and “Parabola” from Bivouac. Jawbreaker had teased fans on Instagram about a week ago with the band rehearsing what seemed to be a new song. That ended up being “Invisible.” The song to me feels closer to Blake’s later ventures with Jets to Brazil carrying that melodic melancholy with Jawbreaker rawness. It continues what Forgetters was doing by bridging the gap between Jets and Jawbreaker. It’s undoubtedly another Schwartzenbach masterpiece.

I’ve never seen a bad show from Jawbreaker, but their sets are never longer than about an hour. I’m always left wanting more. You never get to hear everything you want, but you’re never left unsatisfied. It’s never more than a ten-to twelve-song set. Everyone knows the number of great Jawbreaker songs is greater than that. Maybe it’s the band’s way of keeping all of this special. Blake started the set with something he had heard at a Cap’n Jazz show he had recently been to: “The world is horrible, but let’s have a good hour.” That’s exactly what this was. 

It’s a crime Jawbreaker doesn’t tour as much as they should. If there is one band to put on a pedestal, it’s them. Chris Bauermeister and Adam Pfahler are still the steadiest rhythm section in punk/emo/pop punk/whatever box you need to put Jawbreaker into, and Mitch Hobbs’ second guitar is just the right amount needed to make a three-piece band that always sounded full to begin with more complete. Sadly, Schwartzenbach seems to keep the ratio of overall career albums to later career shows narrow. While it’s less doubtful that the band won’t play again, it’s the hope that the band won’t leave us hungry for too long.