LYRA abandons a broken affair with alt-pop swagger on ‘The Ending’

<p>“You called it love, I called it a lesson.” That’s LYRA serving broken-relationship knowledge in the Cork-born, Brighton-based artist’s pulsating new single “The Ending.” Hitting the streams earlier this month (October 4), this electric alt-pop jam details the moment LYRA decided to let go of her broken relationship — and she and the listener have both come out on the other side with a newfound appreciation and awareness. “I finally decided to stop letting thoughts like ‘What if I had […]</p>
<p>The post <a href="https://vanyaland.com/2024/10/14/lyra-abandons-a-broken-affair-with-alt-pop-swagger-on-the-ending/">LYRA abandons a broken affair with alt-pop swagger on ‘The Ending’</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

Hidden Mothers: "Violet Sun"

Hidden Mothers have released a new song called “Violet Sun”. The song is off their upcoming debut album Erosion / Avulsion which will be out on November 29 via Church Road Records and Deathwish Inc. Hidden Mothers released their self-titled EP in 2020. Check out the song below.

DS Record Radar: This Week in Punk Vinyl (Less Than Jake, Rise Against, Slick Shoes & More!)

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold […]

Greetings, and welcome to the Dying Scene Record Radar. If it’s your first time here, thank you for joining us! This is the weekly* column where we cover all things punk rock vinyl; new releases, reissues… you name it, we’ve probably got it. Kick off your shoes, pull up a chair, crack open a cold one, and break out those wallets, because it’s go time. Let’s get into it!

Check out the video edition of this week’s Record Radar, presented by Punk Rock Radar:

Less Than Jake bats leadoff this week with their brand new EP Uncharted, due out November 15th on Pure Noise. The EP features 7 new songs and is (coincidentally?) available on 7 different color variants. Every variant comes with a printed compass design on the B-Side. Here’s the full list of colors on offer:

– Blue, Yellow & White w/ Orange & Black Splatter (250 Copies) – SOLD OUT

– Yellow in Clear w/ Blue, Bone & Green Splatter (500 Copies) – BUY

– Easter Yellow / Blue / Bone Tri-Stripe (500 Copies, Retail Variant) – Buy w/ Autographed Postcard / Buy w/o Postcard

– Electric Blue Glitter (250 Copies) – BUY

– Half Red / Half Bone w/ Black Splatter (250 Copies) – BUY

– Sapphire Marble (1,550 Copies) – BUY

– Sea Blue & Electric Blue Pinwheel w/ Bone Splatter (500 Copies, Band Variant) – On sale now at LTJ shows

Edmonton melodic punk band King Thief’s self-titled debut LP is out now! You can get it on red and white cornetto colored vinyl and/or black wax from Thousand Islands Records. Meanwhile, Disconnect Disconnect has their own exclusive translucent tan color variant limited to 100 copies. This band’s lineup boasts members of This Is A Standoff, Teenage Bottlerocket, Choke & more. Highly recommended pickup for you discerning melodic punk collectors.

Orange County ska-punks Bite Me Bambi’s new album Eat This is due out next month and you can pre-order it now on two color variants: Hot Pink w/ Black Splatter and Pink Marble, limited to 250 copies each. Check out the latest single “Do the Damned”!

Rise Against’s Appeal to Reason is back in print for the first time in 5 years with a new pressing on orange colored vinyl, which is supposedly limited – exactly how limited it is, I don’t know! What I do know is you can get this for $29.99 instead of the $85+ previous pressings are going for on Discogs. Get it here.

Another Rise Against record back in print for the first time in a long time is The Black Market. It looks like this has actually never been repressed since its original release in 2014. This isn’t a fancy 10th Anniversary reissue or anything, just a new pressing on black wax, but I figured it’s noteworthy since this, too, fetches a pretty penny on the resale market currently. Get the new pressing for $27.98 right here.

Tooth & Nail Records has released three deep cuts from their catalog on vinyl for the first time ever! These include As Cities Burn’s 2009 album Hell Or High Water, Slick Shoes’ 2002 self-titled record, and Dogwood’s Building A Better Me from Y2K. These were available exclusively at Furnace Fest 2024 but it sounds like Tooth & Nail will be putting leftover copies up on their webstore at 9am pacific / noon eastern on Halloween.

Speaking of Halloween, Black Russians have a new record coming out this Halloween and you can get it on black wax from our friends at Memorable But Not Honorable Records here in the states, and or mates at Punk Rock Vinyl in the UK. There are just 100 copies total (50 per label) so you’ll wanna act fast on this one.

The only (cover) band that matters Me First and the Gimme Gimmes are hot on the heels of their new album ¡Blow it…at Madison’s Quinceanera! and they’re continuing to have a ball with this 7″ single featuring a new cover of Billy Thorpe and the Aztecs’ “Most People I Know (Think That I’m Crazy)”. I’d never heard the original before, but I guess it’s considered somewhat of an Aussie classic, so it’s fitting the band will have an exclusive variant of this on their Australian tour with the Dwarves in a few weeks. For now you can get the 7″ from Fat Wreck on (non-Australian tour exclusive) colored and/or black vinyl.

Well, that’s all, folks. Another Record Radar in the books. Short one this week! As always, thank you for tuning in. If there’s anything we missed (highly likely), or if you want to let everyone know about a new/upcoming vinyl release you’re excited about, leave us a comment below, or send us a message on Facebook or Instagram, and we’ll look into it. Enjoy your weekend, and don’t blow too much money on spinny discs (or do, I’m not your father). See ya next time!

Wanna catch up on all of our Record Radar posts? Click here and you’ll be taken to a page with all the past entries in the column. Magic!

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DS Show Review & Galleries: Riot Fest 2024 Day 2 featuring The Hives, The Dead Milkmen, Sincere Engineer, Descendents; and D.O.A. Chicago (09.21.2024)

Riot Fest Day 1 was hot, and Riot Fest Day 2 was even hotter. A virtual scorcher, weather-wise and musically, DS hit the photo-pits for The Hives, The Dead Milkmen, Sincere Engineer, Descendents, and D.O.A. as they tore up the stages in Chicago’s Douglass Park. You can see additional day 2 band galleries on Instagram […]

Riot Fest Day 1 was hot, and Riot Fest Day 2 was even hotter. A virtual scorcher, weather-wise and musically, DS hit the photo-pits for The Hives, The Dead Milkmen, Sincere Engineer, Descendents, and D.O.A. as they tore up the stages in Chicago’s Douglass Park. You can see additional day 2 band galleries on Instagram via hyperlinks in the corresponding paragraphs below.


One of the most eagerly anticipated sets on the second day of this year’s Riot Fest was from The Hives. The matching and sharp-dressed Swedish punks exceeded all expectations with a ferocious performance from the first note played. With various band members sporadically taking their places on the giant speakers in front of the stage and with the lead singer “Howling” Pelle Almqvist moving to sing at the barricades and above the fans, the photo pit got a bit chaotic. It was so chaotic (please note, though not out of control) that we shooters were instructed to exit just seconds into the third song. One fellow photographer joked after that if you could not get a good photo within the first minute of that set, you shouldn’t be shooting Riot Fest. Indeed, The Hives set was the epitome of the performances upon which we concert photographers thrive.

Included in the raucous set were the songs “Bogus Operandi, “”Rigor Mortis Radio,” “Walk Idiot Walk,” and “Hate To Say I Told You So.” “Countdown to the Shutdown” was the last song played by The Hives but it wasn’t the last song heard. While lots of bands have walk-on music, The Hives also has a walk-off songs. In this case, Carly Simon’s “Nobody Does It Better,” which, f.y.i., is the theme song to the 1977 James Bond film, “The Spy Who Loved Me.” Band members bowed and waved as the iconic American singer-songwriter’s voice wafted gently from the speakers. More than a few witnessing The Hives’ Riot Fest performance might argue that nobody did it better, at least not on this day.


The Dead Milkmen took the stage a few minutes ahead of time, catching us shooters and those letting us into the photo pit a bit off guard. It was all good, though, as we were given a bit more time to make up for it. The Philly outfit brought its legendary tongue firmly in cheek. The exuberant set included some of the band’s best songs, including “Serrated Edge,” “Punk Rock Girl,” “Bitchin’ Camaro,” and “Big Lizard.”

The Dead Milkmen also performed “Grandpa’s Not a Racist (He Just Voted for One),” off the band’s 2023 album Quaker City Quiet Pills. The lyrics to the song and the fact it was released just last year, make it hard not to think of a certain segment of the voting population in this election year, and of a certain 2024 Presidential Candidate.

They’re coming for his Jesus
They re coming for his gun
They’re coming for his Jesus
There coming for his gun
They’re coming for his Jesus
They’re coming for his gun
Grandpa’s not a racist – he just voted for one

Grandpa’s screaming something about white genocide
as he crawls under the bed looking for someplace to hide
He talks a lot of bullshit when he’s hittin’ the rum
But we know Grandpa’s not a racist – he just voted for one.

Last night we found Grandpa wandering the streets
Whistling Dixie and wearing a white sheet
Letting everybody know He won’t be replaced by the Jews 
and we said
“Oh, Grandpa, who could ever replace you”

Do you know a racist Grandpa?
You see one every day
He wonders why the N-word is something he’s not allowed to say
and while he’s the worst person under the sun
We all know Grandpa’s not a racist – he just voted for one.”

The Dead Milkmen set was the one I knew I would not miss at this year’s Riot Fest. I enjoyed interviewing Joe Jack Talcum and covering and documenting the band’s delightful set at House of Vans several years back. I hope to document as many more The Dead Milkmen shows as possible because I’m kind of a punk rock girl who has had the pleasure of riding in my friends’ Bitching Camaro on numerous occasions.


Sincere Engineer is most often described as a stage moniker for singer/rhythm guitar player Deanna Belos in her sole work. But it has also been described as a band, including by Belos herself on occasion. Whatever its most accurate characterization, if there indeed is one, Sincere Engineer has been a Dying Scene favorite pretty much since its debut album, Rhombithian.

Of course, one of the big reasons is Belos’ smartly charming and self-deprecating songwriting. She is unafraid to wear her often aching and/or longing heart on the short sleeves of her black Carhartt t-shirts nor is she wary of letting you know this is the case. The first song the band played “Anemia” perfectly illustrates this

I’m a walking open wound
Don’t make any sudden moves
I’m a walking open wound
It’s a pleasure to meet you

Aware of this, it is unsurprising the group’s walk-on music is the classic instrumental version of the Johnny Mandel theme from M*A*S*H*, also known by its official song name “Suicide Is Painless.”

However, the joy she and her bandmates, Kyle Geib on lead guitar, Nick Arvanitis on bass, and drummer/back-up vocals Adam Beck display whilst expressing sometimes heavy emotions is infectious.

Also included in the roaring set “Dragged Across The Finish Line,” “Corn Dog Sonnet No. 7,” “Old Coat Pocket,” and “Overbite,” among others.

Sincere Engineer is currently on the road in the western part of the United States, supporting New Found Glory’s Catalyst 20 Years Later Tour. To say this is a dream come true for Belos’ might be a bit of an understatement. Speaking to her from said road, Belos’ described to me what it has been like.

“It’s such a blast being out on tour with New Found Glory! They’re so nice, and the shows have been incredible! They were my first favorite band, so it’s been awesome to get to know them and see them every night!


Riot Fest’s regular rotations include numerous members of the “Punk Rock Docs Club” including Bad Religion’s Dr. Greg Griffin, PhD; Dr. Daryl Wilson, MD of The Bollweevils; Dr. Dexter Holland, PhD of The Offspring, and of course, The Descendents‘ Dr. Milo Auckerman, PhD. The latter two were on stage in Douglass Park this year. Dying Scene was able to hit one of those sets.

After taking the stage Guitarist Stephen Egerton gestured to its side area to give a shoutout to skateboarding legend Steve Caballero, whose own band, Urethane, also played Riot Fest 2024. The Descendents launched into its performance. The frenetic and extensive set included “The Only One,” “Silly Girl,” “Clean Sheets,” “Look Good On Paper,” “I’m The One,” and “Suburban Home.”

If the Descendents were offered an annual residency at Riot Fest, few would likely complain.


D.O.A. is still alive and killing it. The only member of the band from start to present, singer Joey “Joey Shithead” Keithley, told the audience that the band has been around for 47 years and added, “I’m in the middle of my third life sentence but don’t worry I can do the fucking stretch. I’m ok, I can do it.”

The band made a strong case for never retiring with its powerful set. Two of the highlights were blistering performances of “Smash The State,” and “The Enemy.”

D.O.A. was recently on the bill for NOFX’s final show. They have a couple of Pacific Northwest shows scheduled in November 2024, providing direct support for Duff McKagen. Check them out if you can!


As noted above, all of the DS Riot Fest galleries can also be viewed on the Dying Scene Instagram account.

Stay tuned for Day 3 coverage coming soon! Cheers!

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Navel Gazing for October 13, 2024

Welcome to Navel Gazing, the Punknews.org commenter community's weekly symposium, therapy session, and back-alley knife-fight. Chime in below with your latest playlists, record store finds, online time wasters, and site feedback.

DS Show Review and Gallery: The Get Up Kids and Smoking Popes headline a sold-out Big Night Live (Boston, MA)

I have a confession to make. It’s not something I’m proud of, necessarily, but that’s just the nature of confessions I suppose. In spite of being an individual of a certain age (45) who has been going to punk rock shows since the mid-1990s and was a fan of the Vagrant Records catalog from pretty […]

I have a confession to make. It’s not something I’m proud of, necessarily, but that’s just the nature of confessions I suppose. In spite of being an individual of a certain age (45) who has been going to punk rock shows since the mid-1990s and was a fan of the Vagrant Records catalog from pretty much the beginning (or at least since that Boxer record) and who doesn’t see the word “emo” as a particularly negative word (and knows it existed before whenever Gen Z thinks it started), I had never seen The Get Up Kids live until 2024. Matt Pryor solo? Sure. New Amsterdams? Yup. Even James Dewees/Reggie And The Full Effect. But for whatever reason, never The Get Up Kids. I’ve long-since had my elder (geriatric?!) emo card revoked, but as of this week, I can officially apply for reinstatement, because, at long last, I finally saw The Get Up Kids!

The Kansas City-based quintet brought their Something To Write Home About 25th-anniversary tour to Boston for a raucous, sold-oud soiree at Big Night Live, a venue I’ve spent many words kvetching about on these here pages. And while many of my complaints are still valid (it’s too weirdly shaped and oversized and chaotically lit and limited-in-sight-lines for a punk rock show), I have to say that it was by far the best show I’ve seen at that venue. When I say it was sold out, I mean it was sold out sold out; each and every nook and cranny of the six (I think) different sitting/standing levels was occupied. A merch line snaked around to the back of the building for what seemed like hours before and after TGUK’s set. (Side note: a sold-out Get Up Kids show at Big Night Live and a sold-out Sabrina Carpenter show at the adjacent TD Garden made for about as enjoyable a people-watching experience as you’ll find).

From the opening notes of set – and STWHA opener “Holiday,” the crowd kicked into full-throated singalong mode and never really let up for the duration of the evening. As is par for the proverbial course in album anniversary shows, the band ripped through a main set that consisted of Something To Write Home About from start to finish, essentially uninterrupted. I’ve been thinking a lot lately about how well some of the mid/late 90s Vagrant records hold up, particularly by comparison, and Something To Write Home About is a prime example, its dozen songs still containing a sort of gravity and earnestness that have allowed it to age gracefully in the quarter century since its release. The call-and-response section of “The Company Dime” is of particular interest now that those of us who were around twenty when the album came out have two-and-a-half decades of day job doldrums under our belts.

After a brief intermission, the band returned to the stage with fervor, kicking things off with the acoustic-led “Campfire Kansas” and rousing renditions of “One Year Later” and “Stay Gold, Ponyboy.” It’s probably hard on an album anniversary tour to put together a larger, career-spanning setlist for the rest of your allotted stage time, and that was certainly true on this night, as only Four Minute Mile, On A Wire and Red Letter Day (the latter of which also turned 25 this year) were represented in the nine post Something… tracks that closed the show, meaning the “newest” song played was still more than two decades old. That didn’t seem to matter much to the jam-packed crowd, who sang along like it was the twentieth century through Mass Pike and the confetti cannon-accompanied “Don’t Hate Me” which brought the night to a fitting conclusion.

The almighty Smoking Popes kicked off the evening’s festivities, and don’t worry, I’m not THAT much of a square – I’ve seen the Popes a bunch of times over the years. The touring lineup has changed a little bit: two-thirds of the Brothers Caterer have stepped back from tour life in recent years, so golden voiced frontman Josh and longtime drummer Mike Felumlee are joined by Reuben Baird on bass and Telethon‘s Jack Sibilski on guitar. The result is a live band that absolutely shreds. Not that Matt and Eli Caterer wouldn’t be up to the task by any stretch, but 2024 has found the current touring Popes iteration has logged more shows in a year than any Popes lineup since the Clinton Administration, so they’re about as locked in as it gets. Their set kicked off with “Midnight Moon,” the song that also kicks off Born To Quit, an album that’s also celebrating an anniversary this year, albeit a thirtieth anniversary. (Yes, that’s right…Born To Quit is thirty. More on that in a couple days, and also, better make sure your AARP benefits are up to date, gang.) BTQ and Destination Failure tracks made up the bulk of the band’s dozen-song set. Sadly, personal favorite Into The Agony was represented only by “Amanda, My Love,” but them’s the breaks when you’re in an opening slot I suppose. At least we got “Let’s Hear It For Love” and “Madison” and a brand new song called “Golden Moment” – more on that one to come! Caterer’s voice – arguably the best in punk rock over the last few decades – still goes down as smooth as ever, and it was fun watching he and Sibilski take turns shredding lead guitar riffs.

The Get Up Kids / Smoking Popes nationwide adventure winds itself down tonight in Chicago. TGUK will be at the Best Friends Forever Fest in Vegas this weekend, while the Popes will take some well-deserved time off the road for a little bit but stay tuned for a few fun announcements on that front, and check out more photos from the show below!

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Dying Scene Show Review: Green Day / Smashing Pumpkins / Rancid / Linda Lindas (Petco Park – San Diego, Ca 9/28/2024)

Green Day brought their Saviors Tour to Petco Park on September 28th, 2024. The show is a celebration of two milestones for the band: the thirtieth anniversary of their album Dookie and the twentieth anniversary of American Idiot. The show had opening support from The Linda Lindas, Rancid, and The Smashing Pumpkins. Throughout this tour, […]

Green Day brought their Saviors Tour to Petco Park on September 28th, 2024. The show is a celebration of two milestones for the band: the thirtieth anniversary of their album Dookie and the twentieth anniversary of American Idiot. The show had opening support from The Linda Lindas, Rancid, and The Smashing Pumpkins.

Throughout this tour, The Linda Lindas have been engaged in a prank war with Green Day, which is why it was confusing to everyone, including the Linda Lindas, that their walkout song was the 877-Kars4Kids jingle. Their six-song, twenty-minute set was pretty evenly split between songs from Growing Up, their first album, and their new album, No Obligation, consisting of “Too Many Things,” “Growing Up,” “Yo Me Estreso,” “No Obligation,” and “Oh!” As per usual, the band closed their set with “Racist Sexist Boy,” which they seem to have tweaked a bit, making the verses a little slower and heavier.

It’s a shame they only gave Rancid thirty minutes to play. They probably had the most energetic set of the night with an …And Out Come the Wolves heavy set. Right out the gate, they played “Maxwell Murder,” “Roots Radical,” and “Journey to the End of the East Bay.” Partway through, Lars reminded the crowd the album celebrates its thirtieth anniversary next year. The band hit songs from most of their albums, including “Tomorrow Never Comes,” the title track off their latest release, and “Something in the World Today” from 1998’s Life Won’t Wait. Rancid mostly played punk songs, with “Time Bomb” being the only ska song they played, which I think was a great call. It was a gauntlet of a set that a band with this much tenure was able to pull off despite deserving more time. Rancid has only gotten better with age, and this set shows they have no intention of slowing down.

One of these things is not like the others, and it’s the Smashing Pumpkins. When this tour was announced, I thought it was strange. That being said, it’s hard to gauge their set fairly because I have not really followed them too closely. I’d like to say the set sounded good to me, but it didn’t. While I recognized a few songs, mostly the hits off of “Siamese Dream” and “Mellon Collie and the Infinite Sadness,” their seventy-five minutes did nothing for me. More power to you if it evoked something in you, but this was always a weird and confusing addition to this tour.

When the lights went out for Green Day’s set, Queen’s “Bohemian Rhapsody” played over the loudspeaker, prompting all in attendance to sing along. At the end, we got sort of a live commercial for Green Day’s new coffee company, Punk Bunny. A disheveled-looking pink bunny came out and jumped around to the Ramones’ “Blitzkrieg Bop,” with the crowd again singing along. Green Day comes on after a short video intro and plays “The American Dream Is Killing Me.” Without missing a beat, they jump into “Burnout” and continue to play the rest of Dookie. Dookie was one of the first albums that I clung to as a kid. This tour marked the first time I got to see Green Day play live. They did a hell of a job playing. Before the band played “F.O.D.,” Billie Joe sang a few lines from John Mellencamp’s “Life Goes On.” A full play-through of this album is not complete without “All By Myself.” Tre Cool came out and sang the song with an orchestra backtrack wearing a leopard-skin robe and flashing the crowd at the end. The next part of the show was mostly songs from “Saviors” and other random songs from the past. Touching on songs like “Know Your Enemy,” “Minority,” and “Brain Stew” was a nice touch, but there are so many better songs from those albums that could have been swapped out. Green Day played for a total of about two and a half hours. With a little over an hour left, they started on American Idiot, but what was amazing was how much energy they still had this far into the set. I run hot and cold on most of the songs off that album, but they killed it.

If you’ve been on the fence about seeing Green Day, it makes complete sense. Stadium shows suck. Between the cost of parking, food, and merch. Also, that you are so far away from the stage you’re mostly watching the big screens anyway, it’s not always worth it. I can count on one hand how many stadium shows I’ve been to, and this was one of the better ones. It was cool to see Green Day play both of these albums in full, but I think I would only see them again if the set had more variety from all of the other albums. Overall, this was a good time.

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Bad Suns play the ‘Lovefool’ in their new Cardigans cover

<p>Yesterday in our On Sale @ series, we spotlighted FINNEAS’ upcoming February show at MGM Music Hall at Fenway and noted that Bad Suns have been tapped as opener for the entirety of the For Cryin’ Out Loud! Tour. Now the California indie-pop trio grabs a headline to themselves with a new cover of The Cardigans’ 1996 classic and current-day supermarket staple “Lovefool.” The Bad Suns’ rendition is fairly faithful, with some modern touches and flourishes to enhance the vibe. […]</p>
<p>The post <a href="https://vanyaland.com/2024/10/11/bad-suns-play-the-lovefool-in-their-new-cardigans-cover/">Bad Suns play the ‘Lovefool’ in their new Cardigans cover</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

‘Saturday Night’ Review: Grab the remote, change the channel

<p>Editor’s Note: This review originally ran as part of our coverage of the 2024 Toronto International Film Festival, and today we’re re-publishing it with the film’s wider release. Check out our extensive review slate of TIFF 2024, and revisit our official preview and complete archives of prior editions.  Out of all the people to valorize at our current moment, it was a strange choice on Jason Reitman’s part to make a hagiographic paeon to Lorne Michaels’ visionary skills as a producer. He’s our window to the […]</p>
<p>The post <a href="https://vanyaland.com/2024/10/11/saturday-night-review-grab-the-remote-change-the-channel/">‘Saturday Night’ Review: Grab the remote, change the channel</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>

V3 Weekend: Commonwealth Festival, Street Comedy, ‘A Nightmare on Elm Street’

<p>Editor’s Note: Welcome to V3 Weekend, Vanyaland‘s guide to help you sort out your weekend entertainment with curated selections and recommendations across our three pillars of Music, Comedy, and Film/TV. It’s what you should know about, where you need to be, and where you’ll be going, with us riding shotgun along the way. Music: Commonwealth Festival at City Hall Plaza It makes sense that a free, all-ages, all-inclusive hip-hop festival takes place in the heart of Massachusetts’ capital, and that’s what’s going down this Saturday […]</p>
<p>The post <a href="https://vanyaland.com/2024/10/11/v3-weekend-commonwealth-festival-street-comedy-a-nightmare-on-elm-street/">V3 Weekend: Commonwealth Festival, Street Comedy, ‘A Nightmare on Elm Street’</a> appeared first on <a href="https://vanyaland.com">Vanyaland</a>.</p>