DS Album Review: FakeYou – “Promise to Disappear”

Montreal punk four-piece FakeYou are set to release their debut full-length album Promise to Disappear Friday, April 3, on Atlanta-based 59 X Records. Playing on the concept of a “promise to appear”, that formal obligation to show up when summoned, Promise to Disappear explores various forms of disappearance as a means of survival in a […]

Montreal punk four-piece FakeYou are set to release their debut full-length album Promise to Disappear Friday, April 3, on Atlanta-based 59 X Records. Playing on the concept of a “promise to appear”, that formal obligation to show up when summoned, Promise to Disappear explores various forms of disappearance as a means of survival in a world of increasing conformity and homogeneity, whether manifesting as fractured identity, negation of self, or a slow descent into less-than-ideal coping mechanisms. Melding the fuzzy grit of grunge and emo with the zeal of pop-punk and the clever sophistications of alt rock, the punk quartet has created an album that, layered under vocalist Guillaume Menard’s throaty vocals, emerges as a heavy, sincere and ultimately, deeply recognizable treatise on who we are and who we are allowed to be. Powerful, organic and encompassing as any instant classic, Promise to Disappear is one of this year’s standout releases from a band that are quickly becoming ones to watch.

The record settles comfortably into itself with gauzy, mellow opener “Wanderlost”, under hazy layers of guitar propelled by a rolling beat. Caught between disillusionment and alienation, the journeys we embark on as we begin to wander off the path of convention will force us to consider how– and if – we want to be seen.

From there, we are led across the album’s ten tracks through a labyrinthine funhouse of feelings as the band sorts through the myriad manifestations of confusion and pain. Time slows on lead single “Tieluck”, an amber-trapped study of the only holdover in a small town quietly slipping into obsolescence, and spins twilight into an endless day on the breathless, lurching “100 Million Sheep”, rhythmic switches mirroring the uneasy cadence of being tugged in and out of a half-sleep. When it all becomes too much to bear, vanishing acts take the form of refuge in addiction on the beautifully harmonious and deceptively upbeat “Solace”, quick comforts for the desperate and lonely that take a dark and poisonous turn. Our emotional wreckage eventually washes up on the shoes of the jeering, semitonal “Like Helium Balloons”, stripped down to a shouting chorus taunting the listener for having been abandoned by their better angels in a pointless quest for the truth.

We are not always the sole architects of our own misery, however, as Promise to Disappear evokes in equal measure the ways in which love and loss reshape us, leaning into percussive elements that invoke a somatic response. Steeped in the sticky syrup of wistful reminiscence, “Faded Scarf” recalls once-cherished memories now wallowed in, a thumping bassline pulsing like a heartbeat under a heavy wall of slow, driving sound. Every drumbeat is like a blow to the chest on “All About You’s” vast and anthemic bridge, echoing the singular enormity of losing someone who came to define your existence. Who we are when these things fade away is a conversation we never quite seem ready to have.

Even the record’s more uplifting songs are tinged with melancholy, though no less with meaning. For those suffering the acute pains of heartbreak or burdened by the heavy impress of despair, there is the soft, emo-infused “Midnight Sun”, a gentle reminder that those less-than-ideal moments that make the nights feel endless are not everlasting. Disappearance can be graceful, it seems, when we are allowed to drop the exhausting pretense of perfection and settle a little bit more into who we really are.

Extensive meditations on love, loss and life tend to serve as fertile ground for existentialism, and it all finally comes to a head on the rollicking pop-punk “Spitshine”, from its jaunty opening bass lick through to the throat-ripping chorus outro: the song’s final moments find Menard’s control wrested away from him by his howling alter ego, whatever sensible opinion that might have been had on the meaning of life ultimately giving way to the sweet release of no longer caring at all. It certainly is no antidote, but as we have learned, we tend to take our comforts in whatever form they come.

On an album whose relentless pursuit of authenticity leaves us with more questions than answers, closing track “Following Protocol” serves as something of its thesis, a bitter final reflection on the lonely realization that a life spent doing as you’re told has yielded little reward. The slow-simmering track steadily builds to a colossally powerful outro, a cathartic tidal wave of feeling that crashes furiously down before receding quietly back into the sea. We are, ultimately, no less lost than when we started. But we might be more equipped to weather what comes.

Each song on Promise to Disappear pulls in a different way at the fabric of what it means to be human, unravelling the threads of personal experience and spinning them into familiar shapes. Love and loss, anger and confusion, the cruel distortions of time, the pains of separation: Promise to Disappear takes the intemporal, intangible, constantly shifting agitation of being alive and weaves it into a common and shareable language that permeates the boundaries of our individual selves, recounting the exhaustion of our endless negotiation with life in a vocabulary common to us all. Menard’s rhythm and LeBrun’s lead guitars twist and wind around each other in an intricate lattice of harmonies and countermelodies that layer over bassist Jay Changizi’s deft and melodious basslines to create a sound that is stunningly lush and deep, the perfect backdrop for Menard’s keen and incisive lyrics. The alternation of heavy riffs with sparse, porous bridges creates a pulse that radiates through the album like a living organism. What results is an record whose bracing depth and vulnerability are its most enduring assets.

From scene veterans with an uncompromising dedication to their craft comes a meticulously crafted and dazzlingly executed debut record. Be sure to head over to the group’s Bandcamp to stream Promise to Disappear or snag a copy of it on gorgeous butter-yellow vinyl. If you’re lucky enough to have a foot in the door of Montreal’s thriving underground, you can catch one of their electric live performances here and in the surrounding neighbourhoods throughout the spring and summer.

Photos by À L’affiche Montréal

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Potrero Hill in San Francisco. Roof top with fog rolling in and Bottom of the Hill neon sign in the distance.

DS Feature: The changing of San Francisco’s 17th St: Volume 1

I grew up in the California Bay Area and have lived in Potrero Hill in San Francisco since 2012. I moved here because I loved the neighborhood and wanted to be close to two of my favorite venues, Bottom of the Hill and Thee Parkside. Potrero Hill has always had a unique mix of industry, […]

I grew up in the California Bay Area and have lived in Potrero Hill in San Francisco since 2012. I moved here because I loved the neighborhood and wanted to be close to two of my favorite venues, Bottom of the Hill and Thee Parkside.

Potrero Hill has always had a unique mix of industry, creativity, and community. Industrial buildings sit next to artist studios and music venues. Local musicians, photographers, designers, artists, and skaters share the same streets as longtime residents. The neighborhood’s creative spirit is shaped by places like Bottom of the Hill, Thee Parkside, DLXSF, Arch Art Supplies, and California College of the Arts.

Warehouse that was formerly Corovan, a moving company. This later became the site where the SF Flowermart moved into.
Corovan warehouse that later became the new home of the SF Flowermart.

That culture is now facing major change. Some positive, some still evolving, while others face an uncertainty.

SF Flower Market has been around since 1912 and after 70 years, found a new home in Potrero Hill. Now across the street from Bottom of the Hill, the Flower Mart continues to be a home for independent businesses and working class people.

Bottom of the Hill music venue at night.

After 35 years, Bottom of the Hill has announced that it will close under current ownership at the end of 2026. The owners will pass the baton onto another independent owner that will continue hosting indie bands as they always have done. Fans are grateful for the Bottom of the Hill’s dedication to the independent music scene and are hopeful its legacy will continue beyond this year as a positive force in the community.

The California College of the Arts campus has been purchased by Vanderbilt University, and CCA programs will end by fall 2027. The neighborhood will lose a major design institution, and the future of the student gallery on 17th Street is unknown.

Thee Parkside music venue exterior.

Thee Parkside recently had its building sold out from under them and ended live shows at the end of March.

Rents continue to rise and only more unaffordable housing continues to be built. Build up and build more at the cost of the neighborhood culture and yet who are these units designed for?

Graffiti inside Thee Parkside that says "This will soon be condos you can't afford" with two staff members and a dog sitting in front of it.
Left: Employee of the Month, Shane and Bar Manager, Laura. Right: Neighborhood Supervisor: Beans

Parkside just announced that the bar will host one last tricycle races on the 4th of July and the bar’s final day will be July 5th. It may not be realistic, but we have to hold out hope that it will be saved.

This is the beginning of a series documenting 17th Street and Potrero Hill as these changes unfold. It will focus on the spaces and people who have made this community special. Maybe if these stories are told, more people will realize why preserving these spaces are important.

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DS Gallery: The Hives and The Chats strike Chicago’s Salt Shed (3/26/26)

Swedish garage punk band The Hives just finished a brief US East Coast tour, with their last stop at Chicago’s Salt Shed on March 26th. Joining them are Australian punk sensations The Chats! With their cheeky, rowdy, and highly-infectious energy, The Chats popped off the night with hits “Identity Theft“, “6L GTR“, and “Struck by […]

Swedish garage punk band The Hives just finished a brief US East Coast tour, with their last stop at Chicago’s Salt Shed on March 26th. Joining them are Australian punk sensations The Chats!


With their cheeky, rowdy, and highly-infectious energy, The Chats popped off the night with hits “Identity Theft“, “6L GTR“, and “Struck by Lightning“.

The Australian “shed rockers” can be appreciated by fans of all ages with their old school punk rock sound reminiscent to being in high school again.

A surprise appearance was made tonight by Sarah Greenwell of Rhode Island punk band Gymshorts for a cover of their song “Heaps of New York“.



The Hives prove to be an essential part of rock and roll history, providing the standard of what a live show should be; intense, theatrical, engaging, a blast to your face non-stop energetic party that gives you the post-concert blues when it is over. This sold-out night at The Salt Shed was exactly that, leaving fans begging for more.


They released their seventh studio album The Hives Forever Forever the Hives on August 29th, 2025 via Play It Again Sam, and still have remaining festival dates this summer. Don’t miss out!



Check out all the fun below!



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DS Show Review – Bad Time Records Tour ’26 @ The Echo, Los Angeles

This week the Bad Time Records Tour made their SoCal stop. They would have their Los Angeles show in Echo Park at the respected Echo venue. From helping in crowd participation, to skanking during intermissions; the LA crowd showed up and showed off, proving they have one of the liveliest ska scenes today. Bad Time locals would […]

This week the Bad Time Records Tour made their SoCal stop. They would have their Los Angeles show in Echo Park at the respected Echo venue. From helping in crowd participation, to skanking during intermissions; the LA crowd showed up and showed off, proving they have one of the liveliest ska scenes today.

Bad Time locals would step up as opening acts for the 3 full-touring bands throughout the tour. For the West Coast run, it was Orange County’s Half Past Two, who opened tonight’s show. There was already a big turnout with people already dancing when they kicked the night off with ‘Talk is Killing Me’. Lead singer Tara dressed as glamorous as ever, showing off a new haircut. Multiple band members like bassist Eric and trombonist Luis had the chance to jump into the pit as well. Half Past Two was a great choice to open the show; they know how to get the crowd moving and love to experiment, like they did tonight.  They usually end their sets with horn-driven song ‘Shine’, but opted instead to close with ‘Dominoes’, another fan favorite. The crowd loved it. The OC vets set the bar high for the following bands.   

Next up would be Kill Lincoln from Washington D.C., fresh from a trip to Disneyland. When it comes to energy, they picked up right where Half Past Two left, starting with my favorite song ‘I’m Fine (I Lied)’. I couldn’t resist and jumped into the pit, where the fire was already burning hot and bright. The ska punk group had a lot of circle pits songs that were very horn-driven. Bass player CJ was super fun to watch as he ran across the stage and moving his body back and forth like those inflatables at a car dealership. (I’m sorry, that’s the best way I can describe it!). I also have to ask for the cardio routine for hype man Drew, who danced, jumped, and skank for literally the entire set.  Their grand finale? Trombonist Ume getting on top a photo booth and crowd surfing for ‘Pralines & Dick’. Kill Lincoln had a unique take on the sound of 3rd wave ska that makes them one of the leading figures of the New Tone movement. I highly recommend that people go out of their way to see this band. 

Speaking of New Tone, New Orleans’s Bad Operation brought their coined ‘New Tone’ back to SoCal. Matching in black Dickies jumpsuits, the band leaned a lot more to the ska/rocksteady sounds of the night, opening with another favorite song that got me dancing in the pit, ‘Kinda Together’. After two animated sets it would be tough to follow, but Bad Operation is on the hype train for their upcoming sophomore album and kept the energy going with new songs such as ‘Rico” and ‘Free Dom’. When D-Ray wasn’t on keys (or trombone), he was headbanging and keeping the crowd excited, even crowd surfing during Robert’s drum solo. JER and saxophonist Emily would hop on horns for the last few songs that included their album-titled track, ‘Perilous’ and closing song ‘Bagel Rooks’. Singer Dom was able to get the crowd to sing the chorus for ‘Bad Operation’, which I thought was super cool. His vocal skills, as well as his guitar skills, were both super impressive and a pleasure to watch within itself. The band overall was able to deliver and got me even more excited to hear their new album. 

Lastly, closing the show was JER from Gainesville. A lot of people in the crowd came to see specifically JER and were not disappointed. The lineup usually rotates since their start in 2021, but the current lineup has been their most stable. They played a lot of songs from their new album, opening with ‘The Way You Tune It Out’, also playing ‘I’m Still Bothered’ and ‘Capitalism Breeds Devastation’, which featured an impressive trombone solo from Robert. While singer Jer is super entertaining, even theatrical to watch, they are also politically conscious with their songs and unapologetically call out a number of issues and political figures. Jer’s monologue before playing ‘What Will You Do?’ is powerful and sets the mood for the song, showing their anger that the crowd responded to well. The transition from that song into ‘Say Gay or Say Goodnight’ was also really cool. The set also featured a mini-reunion for ska band Matamoska!, when saxophonist AJ hopped on with fellow members Robert (trombone) and Esteban (keys) for ‘I’d Like to be Better’. Their drummer Savannah also played drums for Half Past Two, which I want to shout out since that seems like a really hard thing to do. Their closing song was their debut album fan favorite ‘Sparkle’, that had probably the biggest circle pit of the night.  JER used their set to spread a lot of love for people and the music they were playing and it really showed by the end of the night. 

In a time where the LA ska scene is troubled with mistrust and low morale, this was a refreshing reassurance that there is still love for the community and that as long as people look out for each other, the music won’t die out. The Bad Time show was a lot more important to the people of LA than what it seems.  As someone deep in the LA ska scene, I’m inspired to spread the love that I felt at this show.  

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Dying Scene Radio Presents: Four Records – Episode 16: Nicole Laurenne (The Darts (US) and Black Viiolet)

photo credit: Emmanuelle Margarita Welcome to Four Records! Each episode, we feature one guest as they go over four records at four different times in their life. This week, Forrest and Jason speak with Nicole Laurenne, vocalist and multi-instrumentalist of The Darts (US) and her solo project, Black Viiolet. Both projects released new records this […]

photo credit: Emmanuelle Margarita

Welcome to Four Records! Each episode, we feature one guest as they go over four records at four different times in their life. This week, Forrest and Jason speak with Nicole Laurenne, vocalist and multi-instrumentalist of The Darts (US) and her solo project, Black Viiolet. Both projects released new records this year (The Darts (US) – Halloween Love Songs and Black Viiolet – Dark Blue). Nicole is on the road until the end of the year, so there are plenty of opportunities to see her perform:

Black Viiolet: 

April 15 – Deep Cuts – Medford, MA 

April 16 – Skylark Lounge – Rochester, NY 

April 17 – Ace of Cups – Columbus, OH 

April 18 – MOTR Pub -Cincinnati, OH  

April 19 – Portal – Louisville, KY 

April 21 – The Woodshop – Chattanooga, TN 

April 22 – Fleetwood’s – Ashville, NC 

April 23 – Gallery 5 – Richmond, VA 

April 24 – DC9 Nightclub – Washington, DC 

April 25 – Main Drag Music – Brooklyn, NY

July 31 – Revolution Hall – Portland, OR

The Darts

May 1 – Starlet Room – Sacramento, CA

May 2 – The Alpine – Reno, NV

May 3 – Duffy’s Tavern – Chico, CA

May 6 – John Henry’s – Eugene, OR

May 7 – High Water Mark – Portland, OR

May 8 – Jazzbones – Tacoma, WA

May 9 – Clock-out Lounge – Seattle, WA

May 10 – The Shakedown – Bellingham, WA

May 12 – Bearded Monkey – Yakima, WA

May 13 – The Shredder – Boise, ID

May 14 – International Bar – Salt Lake City, UT

May 15 – Mesa Theatre – Grand Junction, CO

May 16 – Hi Dive – Denver, CO

May 17 – Sister Bar – Albuqueurque, NM

May 19 – Club Congress – Tucson, AZ

May 20 – Rebel Lounge – Phoenix, AX

May 21 – Mexca – El Centro, CA

May 22 – Arroyo Secodelic Fest – Los Angeles, CA

May 23 – Alex’s Bar – Long Beach

May 24 – Pour House – Oceanside

May 25 – Pappy and Harriet’s – Pioneertown, CA

May 27 – Usual Place – Las Vegas, NV

May 28 – Transplants Brewing – Palmdale, CA

May 29 – Moe’s Alley – Santa Cruz, CA 

May 30 – Thee Stork Club – Oakland, CA

June 10 – The Basement at Bond Street Bar – Asbury Park, NJ

June 11 – Pie Shop – Washington, DC

June 12 – Cobra Cabana – Richmond, VA

June 13 – Neptunes Parlour – Raleigh, NC

June 14 – The Eagle’s Dare – Wilmington, NC

June 16 – Static Age Records – Ashville, NC

June 17 – Moodright’s – Savannah, GA

June 18 – Tin Rook – Columbia, SC

June 19 – The EARL – Atlanta, GA

June 20 – Blue Room – Nashville, TN

June 21 – PORTAL + ARTPORTAL – Louisville, KY

June 23 – Melody Inn – Indianapolis, IN

June 24 – Beachland Ballroom & Tavern

June 25 – Skylark Lounge – Rochester, NY

June 26 – Ohana Luau on the Lake 2026 – Lake George, NY

June 27 – Cafe Nine – New Haven, CT

June 28 – Main Drag Music – Brooklyn, NY 

Nicole Laurenne’s Four Records:

0-10: Hall and Oates – “Rich Girl”, Carl Douglas – “Kung Fu Fighting”, Pretty Poison – “The Night Chicago Died”

Teenage: Journey – Escape

Twenties: Sinead O’Connor – I Do Not Want What I Haven’t Got

Recent Record: Stiff Richards – Dig

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Email: fourrecordspodcast@gmail.com

www.DyingScene.com

Opening song: Rad Skulls – Loud as Shit

Closing song: Lucas Perea – Underneath Ashes

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DS Record Radar: Mom’s Basement reissues The Jasons’ “Blood in the Streets” – exclusive vinyl color variant preview

Behold, collector nerds! Our friends at Mom’s Basement Records and I Buy Records are reissuing The Jasons’ long out of print 2019 album Blood in the Streets. Dying Scene stoked to bring you an exclusive first look at all 5 color variants (6 if you count black wax) you’ll be able to grab the record […]

Behold, collector nerds! Our friends at Mom’s Basement Records and I Buy Records are reissuing The Jasons’ long out of print 2019 album Blood in the Streets. Dying Scene stoked to bring you an exclusive first look at all 5 color variants (6 if you count black wax) you’ll be able to grab the record on tomorrow at noon eastern on the Mom’s Basement webstore. Our European friends can get their copies from the I Buy Records store.

Check ’em out below and set a reminder to get your order in tomorrow at 12 o’clock on the dot (or 9am if you’re on the west coast, or 11am if you’re in the central time zone, or maybe even some other time if you live elsewhere in the world). Jasons records always sell out fast and I doubt this reissue will be any exception.

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DS Gallery: Flatfoot 56’s annual St. Patrick’s Day bash with the return of Downtown Struts + more! (Reggie’s, Chicago, 3/14/26)

Another year, another St. Patrick’s Day bash with Celtic punk legends Flatfoot 56, this year featuring Liberty & Justice plus fellow Chicago-based punk bands Downtown Struts and Won’t Stay Dead. Tag teaming this show with me is fellow Dying Scener Brian Nielsen! Chicago’s horror pop-punk Won’t Stay Dead have been keeping busy, releasing their debut […]

Another year, another St. Patrick’s Day bash with Celtic punk legends Flatfoot 56, this year featuring Liberty & Justice plus fellow Chicago-based punk bands Downtown Struts and Won’t Stay Dead. Tag teaming this show with me is fellow Dying Scener Brian Nielsen!


Chicago’s horror pop-punk Won’t Stay Dead have been keeping busy, releasing their debut Red Scare Industries album Vindication last December and playing a slew of shows since. They will be playing their first international show for Pouzza Fest in Montreal this May!



Hardcore punk from Houston, Texas, Liberty & Justice flew out of the gate with their own brand of street punk and oi; not only do they sound like a good time, they are a good time!



Chicago’s own Downtown Struts are back! Besides their highly-energetic performance, the band also celebrated the 15th anniversary of their debut EP Sail the Seas Dry with a vinyl re-pressing, along with with their debut full length album Victoria! via Pirate Press Records.


From here we’re switching gears to Brian’s take on the show (thanks Brian!)

Growing up I was most aware of my Danish heritage, as my grandfather was 100% and my dad was very proud of that. But according to Ancestry.com, I’m more Irish than anything else. I knew I was a little Irish, but finding out it was the majority of my genetics was a surprise. Even knowing this, I’m still not big on celebrating St. Patrick’s Day. Even in my drunken heydays, St. Paddy’s Day still felt overly excessive. One of my dearest friends was a bouncer for most of his career; having to deal with the shitshow every year, he came to refer to it as “ashamed to be Irish day.” Those words still echo in my head every year, and I usually celebrate by staying home and not drinking.

This year I broke tradition. This year, Dying Scene called for my participation. Mary Sunde had an extra guest list slot to see Flatfoot 56 at Reggie’s and so generously offered it to me. She suggested I do the write-up to accompany her photo gallery, and I felt it was the least I could do to show my gratitude. Of course, I was out of state when I got the invite, and I couldn’t make it back in time to see the whole show. But I was able to make it back for the Downtown Struts and Flatfoot, so a healthy dose of rock, my face did receive. Oh yes.


I’m a fucking nerd for music gear, so let’s get that out of the way first. It might get boring; don’t feel bad about skipping to the next paragraph. The Struts and Flatfoot shared amps and drums. I didn’t recognize the badge on the drum set, and even with maximum zoom on my phone, I could not read the name. Whoever made them, they had a beautiful, sparkly gold burst finish, and the sound engineers at Reggie’s had them sounding pounding. Full of deep sustain and heavy punch in the attack. I would imagine it was the result of equal parts the quality of the kit and the talent of the engineers. Both guitars sounded perfect for the Struts’ genre. Just the right amount of distortion, not too much not too little, and a very balanced frequency response. Both guitars were going through unmarked 4×12 cabs. Rhythm was using a Mesa Triple Rec; the cab was bare wood, possibly something modern and boutique, or maybe a vintage cab with the tolex removed to show off the woodgrain. Whatever it was, even though I was right up front with it blasting loud and aimed right at my head, it sounded full, rich, and pleasant for the Struts. That is pretty damn impressive in those circumstances.


Flatfoot dialed in some extra top-end bite to the amp, and that was a little harsh where I was standing. It was a classic punk rock sound, though, and I’m sure the tone was excellent for everyone not caught in the headlights of the amp like I was. The other guitar was going through a silverface Fender head and another unmarked cab. If it previously had a name on it, it had been replaced with a decorative boat anchor. To the best I could tell, the amp was dialed into a full-sounding clean tone, and both bands fed a tasteful distortion into it and made it sing. Again, I had the other guitar amp beaming sound directly into my earholes, so it was a little difficult to hear the other amp, but everything I could hear from it was excellent. Bass ran through an Ampeg SVT tube head; I’m guessing the model was an SVT Classic. The Ampeg ran into an Emperor cab with 6 speakers—I think they were ten inchers  but it’s possible they were twelves. Regardless, bass tone was on point. Deep low end you could feel and a clean high end that made the basslines easy to pick out.


Alright, as for the actual performances, they were excellent. I had been so busy prior to the show, and in such a rush to get there, I didn’t even know who was opening. As such; I had no idea who I was listening to while the Downtown Struts were playing. The sound was familiar, though. It reminded me of a slightly less aggressive version of some of my favorite local Chicago melodic post-punk bands from the mid-to-late 2000s. And that tracks, as the band formed in 2008 in Chicago. The name is incredibly familiar, and I almost certainly saw them share a bill with one of my many favorite local bands back in the day. Before I knew their backstory, there were hints, as one of the guitar players spoke about waking up one day in your 40s, getting ready to get on stage and play music you haven’t performed since your 20s. The sentiment hit home with me in my 42nd year, still playing in a band I started when I was 15.

The guitars were hitting a distortion sweet spot, full and articulate. The chord progressions were driving. The melodies were catchy. Both guitar players traded off singing lead and playing lead. It was really cool to see them share the spotlight, and they each brought unique character to the songs, keeping things from ever getting stale. Many of the choruses featured both guitar players and the bassist singing together, and if I knew the lyrics it would have had me singing along too. The drums pounded and carried just enough finesse to hold my interest as a snooty drummer myself, without being too busy or getting in the way of the straightforward driving feel of the songs. The bass held a similar style as the drums, doing exactly what it was supposed to do. It tied all the instruments together, playing just enough melody to stay interesting without fighting the guitars for attention.

The crowd was clearly having a good time. When the band shouted, “Fuck ICE,” everyone agreed. There was a group of about 10 people in the middle of the floor having a great time dancing and singing along. Pretty safe bet they were all old fans soaking in the nostalgia, reliving the good old days. Newcomers seemed equally impressed with the band. Case in point, I had a dude come up to me after the show and tell me how great my set was. For a brief second I thought he recognized me from my show at Live Wire a few weeks prior, but I quickly realized he thought I was one of the guitar players from the Struts, and his kind words were meant for them.


Even though I couldn’t place any of their songs when I was invited to the show, I was very familiar with the name Flatfoot 56. Besides the fact they recently played a secret show in the basement of my friend and former bandmate, I have seen the name on countless flyers. Even though I couldn’t pull a memory of seeing them live, I was sure I had. That is, until the bagpipe player came out on stage. I considered bagpipes to be one of the most unpleasant sounding instruments in existence, so had I seen them, I definitely should have remembered that—unless maybe if I blacked out the memory because it was that terrible. But once the band started playing, all evidence pointed against the blackout theory. Not only did the sound of the bagpipes not stab me in the ears, it actually complemented the rest of the music quite well. Another pleasant surprise! The band showed their Chicago roots early in the set with an anecdote about chugging Green River soda while the river gets dyed green. As someone who grew up just outside of the city, and having lived in Chicago proper for over 20 years, I’m ashamed I have never done, or even thought of doing that. Back to the music, I can see why I’ve seen the name around so much. They absolutely nail the classic, high-tempo, driving punk sound with just the right amount of Oi! and bagpipes/mandolin to give it that Irish flavor.


Nostalgia stayed thick in Reggie’s that night as the band played many old favorites. They even brought out their old drummer of 13 years, who hasn’t played with them since 2013. Allegedly he was going on cold, without practicing. The band had asked him to sing with them, only requesting him to play drums AND sing at the last minute. I say allegedly because boy, did he nail it; he didn’t miss a beat and I easily would have believed he had rehearsed heavily before the show. Later in the set, he came back on stage just to dive off of it. He narrowly missed clipping Mary with his foot. An inch to the right and he would have kicked her camera straight into her head and I would have been carrying her out of the venue to nurse a concussion. As the band continued their set, it seemed as if the whole standing area at Reggie’s was dancing and singing along and yelling all sorts of requests from the band’s deep discography between songs. In between songs they shared more anecdotes, some specifically about life on the road. My favorite was a time they played in Germany without securing lodging before the show. They ended up sleeping on the venue floor, huddled up, “like peas in a pod,” using their stage banner as a blanket. Adorable.


Reaching its end, the night felt short, as their 14-song set and single-song encore raced by in no time flat. Even though everyone wanted more, no one was disappointed with what they got. It was a night I won’t soon forget, for on this St. Patrick’s Day weekend, I had no reason to be ashamed to be Irish. At least not until seeing the news and reading the posts the next day, because; St. Patrick’s Day. St. Patrick’s Day never changes. Fighting and puking and general disorder in the streets was as widespread as ever, but not inside our tiny bubble at Reggie’s Rock Club.


Check out all the fun below!



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DS Preview: Doll Fest in Oakland is This Weekend!! Alice Bag and Bad Cop Bad Cop and War On Women and More!!

In just under two weeks, Doll Fest returns to California’s Bay Area for the second annual edition of its all-femme festival, following the success of last year’s debut. Taking place March 27–29 at The California Ballroom in Oakland, the weekend promises two days of live music, community, and celebration. With the festival quickly approaching, now […]

In just under two weeks, Doll Fest returns to California’s Bay Area for the second annual edition of its all-femme festival, following the success of last year’s debut. Taking place March 27–29 at The California Ballroom in Oakland, the weekend promises two days of live music, community, and celebration. With the festival quickly approaching, now is the time to secure tickets before they’re gone!

Doll Fest is much more than just a music festival; it’s a celebration. Founded by Maria Chaos, Doll Fest celebrates feminism, community, and the power of supporting one another. After decades of women being marginalized in the music industry, Doll Fest provides opportunities to empower marginalized voices that are often underrepresented. The festival honors activism, the Riot Grrrl movement, and the importance of women’s voices in music, creating a space for empowerment, resilience, and collaboration. By uniting like-minded people through music, art, and culture, Doll Fest amplifies feminine energy and community in a way that is inspiring. As stated on dollfest.net, “We are still battling for true equality against the archaic non-values of patriarchy, still fighting for the power over our own bodies, and still proving our worth as voices to be heard. Doll Fest intends to bring together like-minded folx who embody the true spirit of Doll Fest – through empowerment, resilience, and nurturing of communities. We are anti-homophobia, anti-transphobia, anti-racist, anti-police violence and strictly anti-fascist.”

This year, Doll Fest has expanded the celebration further than just the main weekend. Earlier in the month they hosted a “pre party” in Mexico City on March 6th and 7th, featuring DJ’s, meet and greets, and appearances from artists including Alice Bag, Bloody Benders, Trap Girl, and Ultraviolentas.

The Bay Area festivities begin Friday March 27th with a “pre fest” show at The Ivy Room in Oakland. With the lineup featuring Skip The Needle, Beneath You, Last Minet, and Wonderland Rejects, this undoubtedly is going to be a great time.

The next day, they’re moving things to The California Ballroom where attendees will have the opportunity to support various awesome vendors, make some friends, and enjoy live music from 2-10pm! There are some standout acts on the bill, like The Hellflowers, Suzie True, Descartes A Kant, and VIAL. The celebration continues Sunday, with another powerful lineup that makes it clear Doll Fest is bigger than ever. Performances from Bitchfit, War on Women, Girl in a Coma, and Bad Cop Bad Cop promise a high energy finale that you don’t want to miss. With a weekend packed from start to finish, this year’s Doll Fest proves once again why it has quickly become one of the most exciting and important femme centered festivals in the scene.

Get your tickets here before it’s too late!

For those that can’t make it, Doll Fest will also be hosting “The Kids are All Right”, a fundraiser show on May 31st at 924 Gilman Street!

It’s benefiting for a great cause, Doll Fest has partnered with Bay Area Girls Rock Camp in an effort to support the the non-profit during a time when their funding is at risk. Donations will be accepted both in person and digitally, and with no presale for this show, just show up and give what you can.

If you’d like to support, you can click the image to make a donation.

Tickets are available now!

Follow Doll Fest on Instagram for updates, and visit https://www.dollfest.net/ for more information.

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DS Show Review: Dropkick Murphys celebrate St. Patrick’s Day and 30th Anniversary with Haywire, The Ducky Boys and The Unseen (3/15/26 – MGM Fenway – Boston)

It’s been a long time since Dropkick Murphys established themselves as the premier flag bearers not just for Celtic Punk but for the Boston punk and hardcore scenes at large. For three decades and counting (yes, really) the band have been road dogs, endlessly spreading their pro-Union and increasingly vocal anti-fascist messages far and wide. […]

It’s been a long time since Dropkick Murphys established themselves as the premier flag bearers not just for Celtic Punk but for the Boston punk and hardcore scenes at large. For three decades and counting (yes, really) the band have been road dogs, endlessly spreading their pro-Union and increasingly vocal anti-fascist messages far and wide. The band’s annual run of hometown St. Patrick’s Day shows have a tendency to feel more than a little bit like a homecoming reunion, the ample crowds filled with names and faces that might have greyed and put on a few as the years have gone by, but who still gather together to revel arm in arm in celebration of the working-class punk rock icons. In certain markets, there is a segment of the showgoing population that seems to have been weeded out over the last decade or so with Ken Casey and crew’s unabashed focus on just where they stand on many of the hottest of hot-button sociopolitical issues, and the shows and the crowds have benefited from this mightily.

The 2026 version of the Dropkicks’ St. Paddy’s shows perhaps exemplify this better than any other installment from years past, as the lineups were culled from generations of Boston street punk royalty. With the band’s recent tourmates and local hardcore upstarts Haywire serving as the kickoff act for the first three nights at the cavernous – and sold out – MGM Fenway, the remainder of the lineups composed a veritable Who’s Who of the last three decades in the Boston area scene and comprised a handful of bands that haven’t played out on more than a decade. Friday the 13th featured Showcase Showdown (?!?) and Vigilantes, Saturday the 14th featured fellow tourmates The Aggrolites, Tuesday the 17th saw appearances from the Dropkicks’ Pogues-punk predecessors Big Bad Bollocks (?!?), Reducers S.F. and the almighty New Darkbuster (also ?!?). The Sunday evening show was no slouch either, featuring performances by longtime scene vets The Ducky Boys and The Unseen.

Haywire were first out of the chute and they took the stage with a vengeance, ripping into a verse of the Thin Lizzy classic “The Boys Are Back In Town” before kicking in to their self-titled introductory track “Haywire.” Haywire have taken both the Boston scene and the larger hardcore scene by storm over the last couple of years, and with good reason. The band is a force, centered around the constant ball of frenetic energy that is frontman Austin Sparkman. The band blistered through their ten song set with plenty of time to spare in their half-hour set which even allowed Sparkman ample time to extoll the virtues of sobriety and checking in on one’s own mental health. Rarely was he in one place for more than mere moments, unless it was atop the box inside the barricade at stage center where he could meet the constant barrage of crowd-surfers head-on. Dropkick Murphys ringleader Ken Casey joined the Haywire crew on stage for a rendition of “New England Forever,” a track that appears on the bands’ split EP that was released for this run of shows.


The Ducky Boys were up next. The band hold a special place in my cold, hardened heart, as they played the only show I was ever able to attend at the iconic and long-since departed Boston venue The Rathskeller – better known as “The Rat.” While the band have remained fairly active in a variety of other projects in the Boston area like Mark Lind and the Unloved or personal favorite The Warning Shots, it had been a minute since the Ducky Boys took the stage together. Due in part to the volume of songs in their catalog and the limited time they had on stage, the band opted for more of a medley approach to their set; seven songs – including “Scars” and “Boston USA” were played in full while eleven others appeared as snippets or abbreviated versions. It was a fun way to cram a lot of material into thirty minutes, although there are certainly longtime Ducky Boys fans who would have preferred more of all of the above!


The Unseen occupied the direct support spot on this bill. Another band who have been mostly quiet for quite some time now, although yours truly had seen them much more recently than the Ducky Boys; a 2013 opening spot on the Street Dogs then-annual Wreck The Halls bill as memory serves. The band’s snarly version of street punk is just as full of piss-and-vinegar as ever, perhaps an indication that things haven’t improved for the working class in the last quarter-century. Highlights included a ferocious version of “Weapons Of Mass Deception,” “Scream Out,” and “Are We Dead Yet?” – the latter of which featured an appearance by former Unseen/Pinkerton Thugs band member Paul Russo.


Which brings us to the main event. In somewhat atypical fashion, the band burst on stage and ripped into the bagpipe-heavy “Deeds Not Words,” a track from 2011’s Going Out In Style that had disappeared from setlists for the better part of a decade prior to the recent For The People…In The Pit run with Haywire. Not only are Ken Casey and crew – Matt Kelly on drums, James Lynch on guitar, Tim Brennan on a bunch of instruments, Jeff DaRosa on a bunch of other instruments, Kevin Rheault on bass and Campbell Webster on pipes – celebrating their thirty years as a band this year, but they also put out their most vital and furious record in a decade, For The People, last year. As such, the setlist for this evening was pretty representative of both bookends of their career, as five songs from For The People and four from their debut full-length Do Or Die (“Never Alone”! “Get Up”!) were featured prominently.


This being the third of four hometown holiday weekend shows, there were of course some unique and special moments. Pinkerton Thugs/The Unseen’s Paul Russo returned to the stage for a cover of the former band’s “One Day.” The Dropkicks later dusted off their uptempo cover of the Clash classic “Guns Of Brixton,” a frequent staple in the band’s earlier years, as Strummer and Co. have long been guiding lights for the Murphys’ brand of socially conscious punk rock. Austin from Haywire returned Casey’s previous favor, joining the band on stage for “Citezen I.C.E.,” a reworked and updated version of their 2005 track “Citizen C.I.A.” while the rest of Sparkman’s Haywire bandmights joined the whole crew for a cover of Haywire’s “Always By My Side” to close out the main set.


This particular show was also “Red Bandana Night,” in honor of Welles Crowther, the former Boston College lacrosse player who died a hero in the World Trade Center’s South Tower on 9/11. The band presented Crowther’s mother with a $10,000 check to the Welles Crowther Charitable Trust, which raises money for social and emotional learning programs from kindergarten through undergrad. As an added touch, Crowther’s alma mater, Boston College, sent the Screaming Eagle Marching Band out for the occasion to join the Dropkicks for the now iconic “Shipping Up To Boston,” their take on a Woody Guthrie’s words that helped shoot the band into the cultural stratosphere two decades ago (and which has since been adopted by the Screaming Eagle Band at home games on the Heights. It’s enough to make even the most callous of Northeastern University fans (read as: me) smile in appreciation.


Flip through more images from a glorious evening at the galleries below, and stay tuned for more coverage from the Dropkicks thirtieth anniversary!



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DS EP Review: Sun Spots – “Dog Is Calling”

Hey everyone – we’ve got a new EP review for you, and I’m glad this one landed on our radar. It’s a fun listen and a strong step forward for the band. Seattle‑based alt/garage rock band, Sun Spots, released their new EP, Dog Is Calling, on Friday, March 13th, 2026 under Den Tapes. The EP […]

Hey everyone – we’ve got a new EP review for you, and I’m glad this one landed on our radar. It’s a fun listen and a strong step forward for the band.


Seattle‑based alt/garage rock band, Sun Spots, released their new EP, Dog Is Calling, on Friday, March 13th, 2026 under Den Tapes. The EP follows their 2022 release of Loosey as well as shows along the West Coast where they shared stages with Enumclaw, GUV, TV Star, and Supercrush.


A defining element of Sun Spots’ sound is the way they balance light pop melodies with the heavier weight and grit of classic grunge guitar. Dog Is Calling leans into that contrast even more. Across four tracks (most coming in at just under three minutes), the band pairs raw, emotive, but soothing vocals with distorted guitar tones that feel both nostalgic and refreshing.


Compared to their earlier material, this EP is their most polished and catchy work yet – still grungy, still dynamic, but more refined in its songwriting. They keep the tempo shifts and energy swings that make their music engaging.


Most importantly, the EP moves you. Good music should take you somewhere, and this one does just that – its warm, familiar elements give you that déjà‑vu head-bobbing feeling from the first listen.

Track‑by‑Track

“Jesus Muffler”

A clear nod to ’90s grunge in both vocals and tempo, but with a poppier sensibility than their earlier releases. A strong opener that sets the tone for the EP.

“Rocket”

Kicks off with a great little hook and guitar effects that feel new for the band. The track shifts from light to heavy and back again with ease. This one stands out – easily my favorite Sun Spots song to date.

“Could’ve Been”

Starts off faster than we’ve heard from them before, pushing into a more urgent sense in the intro while keeping their melodic core intact. It’s a great song.

“Dog Is Calling”

The title track is complete and perhaps the most bittersweet sound on the EP – you can really picture yourself hearing this track on the score of a late ’90s movie like She’s All That. It’s a fitting ending that ties the whole project together.

As mentioned, Dog Is Calling dropped Friday the 13th. Check out Den Tapes for more info!

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