Rookie: Mike Chaiburi (Whispers) – Octopus Stage

Formed in 2014, Whispers is a hardcore band from Bangkok, Thailand. They’ve been slowly building a fanbase since then. Dubbing their sound as Bangkok Evilcore, they frequently combine music rooted in 1990s metallic hardcore with lyrics influenced by Buddhist proverbs focused on realism, human nature, and self-reliance. Click here for more info and links to tickets for Whispers’ upcoming tour dates

Dying Scene: What’s been the most surprising thing about Warped Tour so far, good or bad?

Mike Chaiburi: As a kid, I watched a lot of this when I was thirteen or fourteen. Now today, it’s just happening. I’m here on the Warped Tour in Long Beach. It’s crazy. It’s very crazy for me.

Dying Scene: What did you think playing Warped Tour would be like before you got here?

Mike Chaiburi: I never thought about it before. I can tell my mom about it. She’s really excited. All my family back home is excited. Before I came here, I stayed in Bangkok for 10 days because we had just done the European tour. We had a gap of twelve days between our day off in Bangkok and Warped Tour. The whole time I was like, “Warped Tour is going to happen in the next two weeks. I’m so excited.”

Dying Scene: Have you played any other shows while you’re in the States? 

Mike Chaiburi: Yeah. We just did San Diego yesterday. The first show was in Corona. We’re going to LA. Awesome. Awesome. We have eight shows this time. We’re going to finish in Portland. It’s a hardcore fest, too.

Dying Scene: What do you hope fans remember about your first Warped Tour run?

Mike Chaiburi: Yeah, I just want to see people moshing. I just want to see everyone having a good time and everyone enjoying our set. I hope it’s going well.

Veterans: John Tran and Adam Lorbach (Home Grown) Years Played: 1998, 2002, 2003

While Home Grown did not play a set at the Warped Tour this year, Adam Lohrbach and John Tran are Warped Tour veterans from the late 1990s and early 2000s, stemming from their breakthrough album Act Your Age (1998) and their time on Drive-Thru Records, a label whose acts were very influential on the evolution of the Warped Tour itself. Home Grown is still riding high after reuniting in 2024. Here’s hoping they’ll be on a Warped Tour stage in the future. Keep up with all the excitement here. 

Dying Scene: You guys have a lot coming up in the next year with the 25th anniversary of Kings of Pop. Are you guys releasing new music next year, or are you going to wait for the year after?

John Tran: No, I think we’re going to release some new music this year.

Adam Lorbach: We’re going to have to do some drops here and there. A couple of singles, maybe, but there’s plenty of material. We’re just waiting for the right time, but some singles this year, for sure.

Dying Scene: How has Warped Tour shaped you guys musically, professionally, or personally? 

John Tran: Well, I mean, Warped Tour 1998 was the first time we did the Warped Tour. So if you can sweat it out in a van in the South and still survive and be a band, that means you’re probably going to make it. We did. It definitely built resilience in us. Oh, 10-hour drive? No problem. Overnight? Yeah, okay. No showers in five days? Okay…

Dying Scene: What do you feel is the biggest difference between Warped Tour then and Warped Tour now?

Adam Lorbach: We just got here, so…

John Tran: It’s still a giant cluster

Adam Lorbach: It’s still hot 

John Tran: Port-o-potties are probably really hot and sweaty and stinky.

Adam Lorbach: I’ve heard more tracks from here than the stage, but I mean, it looks cool, man. It’s awesome seeing everyone still on the scene, walking around, dressed like they were in 2002.

Dying Scene: Did any bands become long-term friends with you guys because of Warped Tour? 

Adam Lorbach: Oh, yeah. I mean, that’s part of the reason why we’re here. We just want to come back and say hi to some of our old friends: Reel Big Fish, The Starting Line. 

John Tran: Simple Plan’s playing, Hoobastank’s here. MXPX is playing. Early November. All the Drive-Thru bands.

Adam Lorbach: We just want to be out here; it’s our hometown.

Dying Scene: Is there a Warped Tour set that you guys still talk about after all these years? 

Adam Lorbach: I mean, the one that sticks out for me is the Drive-Thru Records stage one. That was a pretty special moment in time. You know, you didn’t even realize it so much when you’re in it then, but looking back, it’s pretty cool with all of our friends always traveling to the same place, going out to have dinners, just having good quality time together. It’s pretty special.

Dying Scene: Is there a part of Warped Tour’s culture that feels essential to you and something that has defined the tour?

John Tran: Honestly, Warped Tour, to me, back in like 2000, no, maybe like 1990-something, had skateboarding. Skateboarding, you know. If all the skateboarding culture was like pop music, that’s what we grew up on. It definitely defines who we are, and who we are today, for sure. I love skateboarding. To this day, I still love punk rock music.

Adam Lorbach: I think it’s pretty cool having the legacy artists. It’s kind of like how Warped Tour was back in the day, always giving a spotlight to new artists, people to come up. So, all these different side stages give people a chance to see you that they might not have otherwise. I love the ethos of Warped Tour. It has a blend of both, so you can have fun with the old music, you know, and sing along. You might discover something new here.

Veteran: Mike Davenport (The Ataris) – Years Played: 2000, 2001, 2003, 2005, 2009, 2013, 2014, 2017, and 2026

This year sees The Ataris play their ninth official set with the Warped Tour. Last year saw the band release their first bit of new music since 2011, “All Souls Day” and “Graveyard of the Atlantic,” with the promise of an album in the near future. While putting the finishing touches on the new record, the band has been playing the festival circuit, including stops in Mexico City and Montreal for the Warped Tour. Keep up with the Ataris here.

Dying Scene: One of my favorite Warped Tour sets I saw the Ataris play was 2002.

Mike Davenport: It was a killer set. It was a surprise set. We were supposed to be on the Warped Tour, but we were making the So Long, Astoria record, so they called us over to play there just to surprise everybody.

Dying Scene: It was like a small label’s booth, wasn’t it?

Mike Davenport: Yeah.

Dying Scene: Do the Ataris have any type of Warped Tour ritual you do when you guys play?

Mike Davenport: We did our first Warped Tour in 2000, and then we’ve done eight after that. My favorite part is the barbecue. We love the barbecue. We love hanging out with everybody. The coolest thing is my friends. Even today, it brought me back because I’m going in and I’m seeing Basement over here and Bowling For Soup over there and all of my favorite bands.

Dying Scene: What’s the lineup for the band right now? Is it the So Long, Astoria lineup or is it a bit of a hybrid? 

Mike Davenport: It’s a hybrid. It’s me and John and Kris and then our drummer’s Dustin. Not Kid (Chris Knapp). We’ve had Dustin (Phillips) jump back in. He’s been with Kris on and off for the last 10 years. 

Dying Scene: What’s changed the most about performing pop punk live since your early work tour? 

Mike Davenport: I’d say it’s slick, man. All of these digital LED backdrops. A lot of the bands that my kids listen to, pop-punk bands, have a lot of screaming in them. We didn’t do screaming in our day. That’s something that came with that next generation of Hawthorne Heights and Sleeping with Sirens and Pierce the Veil.

Dying Scene: Is there a Warped Tour set you still talk about all these years later?

Mike Davenport: We loved Warped Tour 2003, San Diego. That set was insane. It’s immortalized on the 2003 Warped Tour DVD. If you ever see it, the sun was going down, we were like the last band playing. You just see people until you can’t see people anymore for days and they’re just crowd surfing.

Dying Scene: Is there a part of Warped Tour’s culture that you feel is essential to it, something that’s defined the tour?

Mike Davenport: I just think that, like Kevin Lyman, he was our first manager, and he’s always run Warped Tour like a bro’s thing. These are all his bros. He’s still sitting back there in his tent, hanging out and just enjoying the moment. And it’s about enjoying life and playing music with friends.

Dying Scene: Do you have any advice for first timers that they never listen to?

Take chances, take risks. You’ve got to take risks. No risk, nothing’s going to happen. I know so many great bands that were too afraid to get in the van, to go on tour, to sleep in the van and rough it. That’s what we did, and that’s how we got bigger. All of my friends’ bands, they did the same thing, and they are here today. The people that don’t take risks, that are afraid, you don’t want to lose your job at Taco Bell or whatever you’re doing, that’s not living. Living is taking risks.

Rookie: Rae and Addison Scott (rosecoloredworld) – Ghost Stage 

rosecoloredworld is making their debut this year on the Warped Tour. Long Beach was their second date after playing the tour’s Washington, D.C. stop. Blending raw emotion and pop punk, a lot of their songs focus on topics like mental health and community. A great combination for the Warped Tour and its ever-evolving ethos. Catch up with rosecoloredworld here. 

Dying Scene:  What did you think playing the Warped Tour would be like before you got here?

Rae: It’s way cooler than whatever I thought, that’s for sure. It’s an amazing community, and the fans have been very awesome to us.

Dying Scene: Did the stage you were assigned to shape your set at all?

Addison Scott: The stage was amazing. It was more than anything we could have hoped for.

Dying Scene: Have you had a “Oh, Shit I’m playing the Warped Tour” moment?

Rae: Yeah, right before we went on. I think it all hit us. 

Addison Scott: We played DC a month ago, and it definitely was crazy. 

Dying Scene: What do you hope fans remember about your first Warped Tour run?

Rae: I hope they feel hopeful, and I hope that they remember having a ripping time with the people they came with.

Dying Scene: Did Warped Tour shape your trajectory as a fan or a musician?

Addison Scott: Yeah, both. I mean, I grew up on the scene, and it definitely is how we are, and who we are.

Rookie – Seth Girard, Thomas Sullivan, Jack Wensky (Good Sleepy) – Vans Stage

Fresh off the release of their second album, Constant Humming, Good Sleepy made their Warped Tour debut in Long Beach this weekend on the Vans Stage with a late afternoon set. Before they grace the stage at Warped Tour’s Montreal, Quebec dates, you can catch them on the road. For more info, check out their official website.

Dying Scene: What did you think playing Warped Tour would be like before you got here? 

Thomas Sullivan: Honestly, I had no expectations. I wasn’t really sure what it was going to be like, but it definitely exceeded all my expectations. I tried to go into it with a clear mind, but yeah, it’s been so sick.

Seth Girard: It’s funny, this morning I was chatting with everybody, and I was like, “Oh yeah, you know, like 12,000 people,” and everyone was like, “No, it’s like 80,000.” So my expectations were blown out of the water.

Jack Wensky: For me, it’s like, I don’t know, I went to high school, so I had an expectation of what it was going to be like. It’s a lot different than I anticipated.

Dying Scene: Did Warped Tour shape your trajectory as a musician or a fan? 

Jack Wensky: My entire music taste is definitely based on Warped Tour, especially from 2016 to 2018. That’s when we were in high school, and all the bands playing Warped Tour were our favorites. They helped us get into this type of music and even start our own band.

Dying Scene: Did the stage you were assigned to help shape your set at all?

Thomas Sullivan: Not really, going into this, we only knew the time. We didn’t know our stage until about two weeks ago.

Dying Scene: Have any bands helped you navigate the chaos?

Seth Girard: We have a lot of friends playing today, a lot of people like telling us what to expect and stuff. Shoutouts to bands like Hot Mulligan, Arms Length, those are some of our good friends. They’ve definitely helped us out.

Dying Scene: What do you hope fans will remember about your first Warped Tour run?

Seth Girard: That it was fun, hopefully. Hopefully, they had a lot of fun; they had a good time.

Jack Wensky: That’s really all we care about is everybody having a good time.

Veteran – tiLLie – Years Played: 2017 and 2026 

tiLLie has made a name for herself in the intervening years since her 2017 Warped Tour debut, having played other festivals including Slam Dunk and Rock for People. This year finds tiLLie rocking the Rex Stage and bringing her electronic-tinged pop-punk set to fans of the Warped Tour. Fans can catch tiLLie on the Warped Tour’s Orlando, Florida stop in November.  For more info, please check out her website.

Dying Scene: Did the stage you were assigned to shape your set at all?

tiLLie: No, I don’t think so. You don’t really find out until pretty late what stage you’re going to be on, so I think you have to go into it with what you’re bringing, and the rest you have to figure out when you get there.

Dying Scene: What’s been the most surprising thing about performing at Warped Tour, good or bad?

tiLLie: I don’t know what was surprising. I think for me, the surprising part was being on the same bill as Third Eye Blind because they’re one of my favorite bands, and my older brother got me into them when I was like a baby. He unfortunately passed away, but I think it’s been so amazing to have this opportunity, and I know wherever he is, his mind is blown, and my mind is blown.

Dying Scene: Did Warped Tour shape your trajectory as a fan or a musician?

tiLLie: Absolutely, yeah, I grew up listening to this. I was definitely more of a Fueled By Ramen girlie. I listened to some of the harder stuff, but I saw Paramore when I was really young at Warped Tour, and that was huge for me.

Dying Scene: Is there a part of Warped Tour’s culture that you feel is essential to you?

tiLLie: I think the community around it, the fans. I just think, especially nowadays, this new iteration of it is a really safe space for all types of people. I think we’re all a little bit outcast and maybe the weirdos, so it’s nice to all be here together and share that and not feel so alone.

Dying Scene: Have you made any friends this year?

tiLLie: I don’t know if I’ve made new friends yet. I’ve seen a lot of friends like Honey Revenge and Nova Twins, some people I’ve played with before. No, I need to make some new friends.

Rookie – Brian McShea (Good Terms) Door Dash Stage

Long Beach was Good Terms first of two Warped Tour dates with their next show being Orlando, FL’s stop on the Warped Tour. Their inclusion on this years tour coincided with the release of their record, Burnout Deluxe. Find them on the road before they make their next appearance. More info, here. 

Dying Scene: How many times have you been to Warped Tour as a fan? 

Brian McShea: I came last year, and then before that, in 2018, was the last one. That was the first one I went to. The guitarist in my band went to like fifteen in a row. I remember watching Warped Tour Wednesdays on Fuse, but I felt too young to go, and I didn’t know anyone doing that kind of thing. I was fourteen or fifteen, and I was into jazz. I was kind of out of it for a little bit, and I missed a lot of music that I now love.

Dying Scene: What’s been the most surprising thing about Warped Tour, good or bad?

Brian McShea: In my band, the other members have a lot more experience performing at festivals for other artists and I’ve never done that. I didn’t know what to expect. Showing up and having your merch going one place and your gear going a different place and you’re going to a different place and you will meet up with it later on. It’s pretty fascinating watching all those systems work. 

Dying Scene: To see how the sausage is made? 

Brian McShea: Yeah, I was the kind of kid who loved watching gears and conveyor belts and shit. Watching all that shit play out is pretty satisfying. Other than that, how fucking tired I am. I was here last year, and I had a lot more energy and emotional energy. It really took a lot out of me. I’m trying to meet our fans, I’m trying to do all the things for our band. It was like, I didn’t get to be in Warped Tour as much, which is fine. I mean, it’s the most Warped Tour we’ve ever done. That was definitely a new thing.

Dying Scene: Did Warped Tour shape your trajectory as a musician or as a band? 

Brian McShea: Warped Tour Wednesdays on Fuse was all the music that got me started on guitar. Green Day and Fall Out Boy were really big bands for me. All the stuff that would have been on Fuse at the time came my way. I came across Taking Back Sunday, Underoath, and all that. That’s where I got started. I stepped away from it as I got into other genres of music, but it was definitely that foundation. I think there’s always been this punk rock ethos I’ve looked for in everything as I’ve gone on. And it’s everywhere. You have to look for it in other genres a little harder, but sometimes you have to look for it here, too.

Is there a part of Warped Tour’s culture that feels essential to you, or something that defines Warped Tour?

Brian McShea: Pick up anybody who falls down. Those are definitely words to live by. I don’t think that’s exclusive to Warped Tour necessarily, but it is a big, important part of how today functions. I think walking around and seeing all the different kinds of people. There are pop-punk kids, there are hardcore kids, there are metalcore kids. There are people with spiked hair, there are people with tucked-in shirts. There are all sorts of people here, and we’re passing through each other. We’re bumping into each other. You’re making friends in lines for things.

Thanks for your time, everyone. If you missed Dying Scene’s review of the Van’s Warped Tour Long Beach, click here

Billie Joe Armstrong formed The Coverups in 2018 with longtime friends Jason White on guitar, Bill Schneider on bass, and Chris Dugan on drums. They tend to play spontaneous shows a couple times a year doing exactly what you’d expect them to, play nothing but covers. There is something uniquely special about watching one of your musical heroes pay tribute to theirs. The fact that they’re usually at small venues is pretty cool too.

The show was announced only a week in advance, and RSVP’s were gone within minutes. With the event being first come first serve and entry not guaranteed, fans were stressing about making it inside. So much so, that they started lining up on Sunset Boulevard at 3 a.m.! By 3 p.m., it was already taking up half the block, which is crazy considering the fact that the doors opened at 8. Fortunately, the Green Day and side project community is one of the best. It doesn’t really feel like you’re waiting around for hours when you’re spending it hanging out and catching up with old and new friends. The sense of community is just as important as the music and the ones that are playing it.

Right before doors opened, fans were handed scratch off tickets that read, “Everyone’s A Winner”.

When walking in, it was apparent that Marshall and The Roxy had gone all out for this event, it absolutely felt like a promotional party! Even the bar had Dookie themed drinks for the occasion. Also, not to mention how many posters there were that everyone was just taking them off the walls. I was lucky enough to bring home two.

When I was going to redeem my scratcher, I was given two numbered guitar picks to enter into a raffle. Later in the night, Billie (with the help of a young fan) picked 3 raffle winners who got to take home a t-shirt, a pair of headphones, and an amp! In addition to the cool new guitar pick, the scratcher redeemed me a lighter, a sticker pack, and 2 buttons. This was a really thoughtful touch that excited the fans.

It was then time to reserve my spot for the opener, The Death Chat. Fronted by Armstrong’s son, Jakob, The Death Chat’s indie power pop punk sound made them a great opener for the night. One significant moment was when they performed “King Of The World”, the first song that Jakob ever wrote. This was definitely exciting to watch, and was especially meaningful knowing that the room was full of fans and people that have watched him grow since then. The Death Chat recently released their self titled album and are currently supporting Bad Nerves on their West Coast tour. I highly recommend you check them out in the future whenever you can.

After a short wait, The Coverups hit the stage. Billie thanked the crowd for coming out to celebrate, and reassured us that we would hear more about the amp throughout the night. It sounded pretty good to me! He even teased us with a snippet of “Brain Stew”, which gave everyone a good laugh. They went on to perform 26 songs, some being Coverups essentials, songs that Green Day has covered in the past, and some live debuts that we’ve never heard before, “Do You Wanna Dance?” and “I Melt With You”. A moment that got me emotional came before Nirvana’s “Drain You”, when Billie Joe dedicated the song to Jennifer Finch. Several exciting guests made special appearances throughout the night. Eden Galindo joined the band for guitar on Mötley Crüe’s “Live Wire”, and legendary producer Rob Cavallo played guitar to end the night on Cheap Trick’s “Surrender”. This was an extremely special moment for me and I know many others.

Here’s the setlist.

1. Hello There (Cheap Trick cover)

2. A Million Miles Away (The Plimsouls cover)

3. I Think We’re Alone Now (Tommy James & the Shondells cover)

4. I Wanna Be Sedated (Ramones cover)

5. Sometime To Return (Soul Asylum cover)

6. Message Of Love (Pretenders cover)

7. Summer Of ’69 (Bryan Adams cover)

8. American Girl (Tom Petty and the Heartbreakers cover)

9. I Fought The Law (The Clash cover)

10. Do You Wanna Dance? (Ramones cover, The Coverups live debut)

11. Ever Fallen In Love (Buzzcocks cover)

12. I Melt With You (Modern English cover, The Coverups live debut)

13. Rockaway Beach (Ramones cover)

14. Bastards of Young (The Replacements cover)

15. Love is for Losers (The Longshot cover)

16. Ziggy Stardust (David Bowie cover)

17. Last Nite (The Strokes cover)

18. Drain You (Nirvana cover, dedicated to the late Jennifer Finch of L7.)

19. Fox on the Run (Sweet cover)

20. Should I Stay or Should I go (The Clash cover,

fan brought on stage to sing Spanish parts.)

21. We Got the Beat (Go-Go’s cover)

22. Live Wire (Mötley Crüe cover, Eden Galindo joined on guitar)

23. Crazy Train (Ozzy Osbourne cover)

24. Talk Dirty to Me (Poison cover)

25. Dancing With Myself (Generation X cover)

26. Surrender (Cheap Trick cover, Rob Cavallo joined on guitar!)

There aren’t many things better than hearing the person who introduced you to punk and rock sing the soundtrack to your life. You can watch my videos of Billie’s “Crazy Train” solo, “Drain You”, “Ever Fallen In Love”, “Live Wire, “Surrender”, ” and The Death Chat’s “That’s Cool”.

Though of course there’s bound to be those who can be pushy, and demand things like autographs, or to hear Green Day hits, The Coverups shows have never really been about that. They’re simply just a band of friends playing the music they love to people that love it just as much.

Seeing Billie Joe Armstrong’s side projects will always be greatly sentimental to me. There is just something fascinating about looking around at the tiny 500 cap room and realizing one of the most influential musicians of the last 3 decades is standing just a few feet away from you. The man that can sell out stadiums, is selling a Marshall signature amp, is playing a show like this for free. That’s only apart of what makes these shows so special. This one at The Roxy was particularly because we were the first group of people to hear the new Marshall 1959BJA signature, and I think that’s the last time for me. Unless I magically win $4,000 anytime soon.

I’ve been lucky enough to have seen Billie Joe Armstrong’s side projects several times over the years, starting when I was just 14 years old, and every one of them have been exceptional and in the same spirit. A strong sense of community, good causes, a genuine love for music, and a want to have fun. That feeling never changes, whether it’s in a giant stadium or a tiny club.

This year’s stop in Long Beach felt a lot less claustrophobic. Organizers seemed to go big to celebrate the tour’s legacy; last year’s overcrowded layout may have been a double-edged sword that pushed them to rethink the festival’s footprint. This year seemed to have fewer stages, which made the rush and ability to see your must-see bands a lot easier to accomplish without as much conflict. However, the day was not without its issues. Assuming the festival’s packed schedule is similar to a house of cards, a power outage in parts of Long Beach threatened to throw a wrench into the festival’s operations.

An hour before the unveiling of the band’s schedules on the inflatable board, some members of the press were invited to a tour of the grounds by Kevin Lyman. Having to deal with this power outage did cut that time in half, but he did keep his word and was able to give us some of his time to answer questions and discuss some of the things he implemented in the past to make the Warped Tour as affordable as possible. While Vans and the Warped Tour may have grown into this giant thing over each of their multiple decades of existence, the keyword is growth. I think the word “sell out” gets overused when “growth” should be used, especially when it comes to something that spent decades growing its fanbase. However, when someone asked Lyman about some of the changes the Warped Tour has gone through, he did mention that doing promotion with Scooby Doo later in the day was a new thing.

The first day was full of interviews, and I didn’t get to see too many bands, but I was able to catch Whispers and their Warped Tour debut. I know the concept of what hardcore has evolved into is simple, but I still consider myself a novice. After speaking with lead singer Mike, I was happy to be able to make their set at the Octopus Stage. Whispers comes from Bangkok, Thailand, playing metallic hardcore with lyrics coming from Buddhist proverbs with heavy, almost doom-like guitars. The band took control of the stage and crowd with a set that was heavier than it was fast, but fun nonetheless.

My second day started with more hardcore. I’m not sure if my newfound interest in hardcore at forty-three says more about me or the genre itself, but I’m enjoying these bands I’m discovering, Start Today being one of them. Coming from Los Angeles and fresh off a tour with Terror, Start Today was the strong cup of coffee this crowd needed to wake up after Warped Tour’s first day. Clearly taking lessons from bands like Gorilla Biscuits and other straight-edge hardcore bands of the time, they mostly played powerhouse songs lasting no longer than a minute and a half or two minutes. I wouldn’t be surprised if we heard their entire catalog.

Across from Start Today was the chaos that was Haywire on the Off The Wall stage. Lead singer Austin Sparkman was already frantically jumping into the giant crowd gathered at the front. Boston Hardcore never sounded better or got a better response in California. If we can’t have Dropkick Murphys at this year’s Warped Tour, Haywire is a damn good substitute. Haywire dedicated their song “Always By My Side” to Sick Of It All frontman Lou Koller and L7 bassist Jennifer Finch, but also included songs like “Poser Disposer” and “Boston Boot Boys,” which they changed to “Long Beach Boot Boys.” Closing with Title Fight’s “Shed” and “Like a Train” from Haywire’s 2024 Conditioned For Demolition, Haywire’s set was a good time.

After missing Drain last year, they were definitely a priority this year, and I almost missed them as I had scheduled an interview during their set time. However, fortune smiled, and the interviewee asked if we could move it so he could also catch Drain. I happily obliged, and I’m glad I did. As with Haywire’s set, Drain showed some love for Lou Koller and opened the show with a cover of Sick Of It All’s classic “Clobberin’ Time,” breaking their tradition of always opening with “Feel the Pressure” from their album California Cursed. Lead singer Sam Ciaramitaro hyped up the crowd, encouraging them to get involved by moshing or crowd surfing, even going as far as opening up the pit by splitting the crowd in half from the stage to make its own giant pit. Despite covering the Descendents track “Good Good Things” from their record I Don’t Wanna Grow Up a few years back, there were fingerprints up and down their set that felt closer to the seminal punk band’s record, ALL.

The nature of the beast that is Warped Tour and other music festivals is always choosing which bands you miss part or all of to catch another. I had this dilemma Sunday evening when it came to finishing MxPx’s set and catching Hepcat. MxPx opened with “My Life Story” from their Elvis Costello-inspired, The Everlasting Moment, and continued to play some big songs from that era of the band, including the first three songs from Life in General: “Middlename,” “My Mom Still Cleans My Room,” and “Tomorrow’s Another Day,” along with “Secret Weapon” and “Party, My House, Be There.” While MxPx still has it without missing a beat, it pained me to leave them for Hepcat, a band that sadly only plays a couple of times a year.

Hepcat’s set was the kind of dance break this show needed. It was at this point that the weather started cooling down a bit. Hepcat cycled through the hits in a Right on Time-heavy set. Hepcat is always great, but it does feel different with Alex singing lead. Different, but not worse. While there is a Greg Lee-sized hole in the band, Jesse Wagner is more than adequate to fill the role Lee has left. His lead vocals on “Prisoner of Love” are proof of that. After verbally expressing their love for Greg, Hepcat closed their set with “No Worries.” It’s always an injustice to give Hepcat only thirty minutes. While they’re always cooking, it’s hard to put that fire out.

I closed out the night with the Aggrolites, and I’m happy I did. While they are one of the few bands that can actually get me to move and dance, I had no energy left. Neither did a lot of other people, but they still found some to keep moving. The Aggros played a good mix of songs, opening with “Funky Fire,” “Countryman Fiddle,” “Mr. Misery,” and “Dirty Reggae.” Having just released a new record, they played their latest single, “Til the Wheels Fall Off,” but also played two covers: their long-time fan favorite, “Don’t Let Me Down” by the Beatles, and the Cock Sparrer classic, “Take ‘Em All.” If their originals didn’t win this crowd over, these covers sure as hell did. The mix of songs was fantastic, and the band sounded on point. In the twenty years I’ve been going to see this band, they always sound perfect. It was the best capper to the weekend.

As I walked around, I caught parts of sets here and there from bands that would have caught my interest if I had had time. The first day I caught bits of Jimmy Eat World and Reel Big Fish. Both bands I didn’t always connect with in my youth, but grew an appreciation for because of friends who are fans and the repetition of hearing them. Before catching Start Today, I was able to hear a few songs from tiLLie’s second day opening set. It was snarky, defiant, and dancey. While an artist like tiLLie incorporated a cornucopia of genres in her set, it was still a weird contrast to the sounds of Start Today. There were a couple of things I didn’t get to do. Despite the Unplugged Stage being the gem of the Warped Tour, I didn’t get a chance to catch a set there. There was a professional wrestling ring set up and matches throughout the day.

During his initial walk-through with us, Kevin Lyman said that the festival was always evolving and that it is not for everyone. He didn’t want this to be a nostalgia festival, though one can argue that last year’s was inevitably that due to the fest’s thirty-year celebration. His insinuation was that a fan can age out of the Warped Tour as younger fans are discovering it.

Last year, I was super critical of the logistics of the grounds, but it seems a lot of those issues have been fixed. Festival food prices run neck and neck with those found at your local county fair. The only difference between the two is brand recognition over the triple dog dare and the resulting triple bypass of fair cuisine. This was a big improvement from last year, which seemed overstuffed with attendees, exhibits, and experiences. This year feels like a step in the right direction. The heart’s there; sometimes it takes a moment for the rest of the body to catch up.

Stay tuned later this week for interviews with some Warped Tour Rookies and Veterans.

If it’s one thing that I’m a sucker for, it’s a band that commits to the bit… and Tea Eater does just that.The Brooklyn based band kicked off the night for Hunx with an opening set I’ll never forget. From taking the stage dressed like they’d just landed from outer space, to a giant inflatable stick of butter for a limbo contest, and to a backup dancer an insanely realistic dog mask, and you’ve got one of the best openers I’ve seen in a while. 10/10 will catch them again!

Highly recommend if you’re into bands like: The B-52’s, DEVO, Le Tigre.

Ah yes, my favorite time of year.. Brooklyn in the middle of a sweltering heatwave. TV Eye was already running hot from Tea Eater, before Hunx and His Punx even went on. Leave it to Seth to come fully prepared for the sweaty occasion… shedding layers throughout the set until he was down to his signature leather assless chaps and leather thong.

About halfway through, it was super rad to get an unexpected bonus treat when the lead singer, Tina, of Sheer Mag stepped onstage to join for a song.

I was also really stoked to see Alana Amram back in the lineup for the evening. The Brooklyn native and wizard of a musician not only played through the set, but also kept the night going with a DJ set after the show.

I can’t forget to mention the celestial Shannon Shaw. It’s not only her powerhouse vocals, but her brilliant bass playing that always reminds me of how lucky we are to live in a timeline with such talented musicians.

After seeing Hunx a few time now, I’d say this might be one of my favorite performances of theirs to date. I can’t wait to see what else they bring in the future!

Check out more photos on Instagram!

The Venue

The Sardine is a great venue and always has great bands coming through. Being that it’s in San Pedro, home to the legendary Minutemen, there is a lot of Minutemen recognition hanging along the inside of the venue. Upon entering, there is a bar directly ahead, there are vinyl and cassettes for sale from Recess Records in a small area to the left, next to the music is an entryway to a large room with a stage to the right and merch selling to the left (back of the room).

The Show start time was 8pm.

Mondo Mundo

A good-sized crowd formed for the LA-based synth-punk band, Mondo Mundo, who opened the night.

Mondo Mundo is a project formed in 2022 by Andrew Clinco (of Drab Majesty and VR Sex) and Cesar Reyes (of The Warlocks).

They sang in Spanish and had a blend of ‘80s wave rock with post punk. Cesar Reyes on keys, Andrew Clinco on guitar and the duo had help from a bassist for the live show. I thought the music and performance was really good and their unique sound had me interested. My only critique is that I prefer live drums over drum machines (call me old-fashioned), but I would definitely check out more of their music.

They frequent Los Angeles venues like Zebulon, check them out!

Toys That Kill

Toys That Kill played next, performing almost the entirety of their newly released album, Triple Sabotage, along with other classics like Runnin’ The Front and Waltz One Million.

A small mosh pit formed for the faster tunes like Safe Song and it was awesome to hear their new stuff performed live. My favorite track of the night was We Didn’t See Nothin’.

TTK always kills it.

Check out Toys That Kill setlist below:

My Kinda Rockstar
S.D.R.T.T. Go!
The Safe Song
We Didn’t See Nothin’
The Cutting Board
Oh Hey
Backwash Me The Antidote
Waltz One Million
The Nervous Rocks
Fighter Dater
Inside The Residue
Runnin’ The Front

The Spits

The Spits started playing around 10:20pm. This was one of the craziest mosh pits I’ve seen in a while, just massive, full of energy, and full of sweat (it was at least 90 degrees inside the venue).

A fight broke out between two kids, Sean Wood shut it down fast saying “hey guys no fighting at a punk show, we all came to have fun, if you can’t handle a pit then get out,” and the kids were split up.

The Spits have been bringing young people out to shows for decades now. Featuring the voice of a Frankenstein-esque monster singing “It’s my life, get off my back” and “Shitty World,” it’s not a surprise that young people always connect with their ironic spin on teenage angst. The lyrics are funny, but you can still feel them.

Check out The Spits setlist below:

Tired and Lonely
Witch Hunt
I’m Scum
Dropout
Up All Night
Live In A Van
Saturday Night
She Don’t Kare
Pct
All I Want
Tonight
My Mess
Remote Kontrol
SK8
Bring
Nuclear Bomb
Rip Up The Streets
I H8 Pussies
DIE DIE DIE

Recess Romp 5 is coming up next month as well as other great shows at The Sardine, go check them out!

It was a packed house last Wednesday night at Calgary’s Palace Theatre, filled with people waiting for The Bouncing Souls, The Suicide Machines, Death by Stereo, and The Drowns. With a stellar roster, plenty of album anniversaries and a new record to celebrate, the place was stirring with anticipation.  

The evening kicked off with The Drowns, and they absolutely nailed it as the opening act. Their energetic style and classic street-punk sound- raw, melodic and catchy- was a perfect way to start the night. Vocalist Rev Peters’ raspy vocals filled the theatre, drawing the crowd towards the stage. Their set was a riot from start to finish; they played all the fan favourites, including “Relentless” and “Them Rats,” and finished strong with an epic cover of Sweet’s “Ballroom Blitz”. The Drowns definitely won over anyone in the crowd who wasn’t already a fan.  

Then came Death by Stereo, and the moment they hit the stage, both the band and the crowd went wild. Efrem Schulz didn’t slack on his signature high-octane style; jumping on anything in sight and captivating the audience with his stage presence. He had the crowd forming circle pits in no time – a true frontman through and through. Their loud, fast and chaotic set was a whirlwind of hits, and the crowd loved it.  Boasting about their recent time in Canada, teasing a new album in the works and another tour on the horizon, they left the audience buzzing with excitement.   

Next up, The Suicide Machines, playing their debut album Destruction by Definition, which just celebrated its 30th anniversary in May. Playing DxD from start to finish, they naturally kicked it all off with “New Girl,” which ignited the crowd instantly. Throughout their entire set, lead vocalist Jay Navarro danced around the stage, while the audience sang along to every word. It was amazing hearing all these songs live again, a true throwback to the early 90s ska-punk days; even Jay admitted he loved revisiting these classics. The audience was treated to a special surprise when Eric Fazzini (Skazzini), saxophonist for the Voodoo Glow Skulls, joined them on stage for “Hey” – which threw the crowd into a frenzy; while the “Vans Song” had everyone tossing up their feet and showing off their kicks. For their final song, “I Don’t Wanna Hear It,” a favourite Minor Threat cover, Efrem of Death by Stereo hopped back on stage to join them, closing out their set with a bang.  

Finally, the legendary Bouncing Souls took the stage, and as the lights dimmed, the excitement was palpable. For this tour, not only were they showcasing their brand-new album, Born to Be (the name of the tour as well), but The Souls were also celebrating anniversaries for three of their albums: The Gold Album, which turns 20; How I Spent My Summer Vacation is 25; and Maniacal Laughter turns 30.  Focusing on these albums ensured the audience would get to hear some songs that might not usually be played on tour; tracks like “Lamar Vannoy” and “Freaks, Nerds and Romantics” were a welcome change. Mixing these songs with tracks from their newest release, Born to Be, ensured the night had a fresh touch. The Souls didn’t hold back the entire evening, with hit after hit lighting up the stage. Combining so many stellar songs from such a lengthy career created a perfectly varied set. It was another great night with the Bouncing Souls – but then again, it always is.  

This show was definitely a night to remember, with such an impressive lineup and an abundance of amazing music. This tour was a favourite for sure and will be hard to surpass. Check out more photos from the show here…

An eight-song album sometimes feels slapped together: too long to be an EP, but not long enough to be a full-length. Sometimes it can feel too lean. However, there’s just enough fat on these songs to keep them from feeling overindulgent, even if its track count leaves you wanting more. Bedroom Sand opens with a track that puts it all out on front street: big drums, riffs, and high energy, “Victory.”

A fantastic start to an album that surprised me in many different spots. Taking a page from the Dave Grohl playbook, you would think that the band had spent all their energy on that first track, but this train keeps moving. Radkey pivots to the steady one-two punch of punk rock that is “Falling Out of Grace” and “Welcome to the Backyard.” The first side closes with the bouncy and poppy album-titled track, “Bedroom Sand.” It may taper off the sound a bit, but it’s a good breather that serves as a thematic midpoint serving as a tonal pivot before jumping into the rest of the album. 

Side two is just as solid as side one. Opening with “Strays,” a sort of love song for the unloved about the band’s many rescue cats, Radkey managed to subvert expectations but still deliver a track that delivers on what it proposed. There seems to be this underlying feeling that the band doesn’t feel good enough, but “Return to the Sky” and “The Heartless” definitely prove that theory wrong. The record closes with the surfy lo-fi burnout anthem, “Ready to Burn.” It would be a weird song to end the album on, energy-wise, if it wasn’t a great capper to a tight record. Feelings of being outsiders are peppered through Bedroom Sand, but it’s very clear their voice and sound is more than welcome.

Radkey’s Bedroom Sand is a great record. On top of the influences listed above, there are fingerprints all over the record from bands like Squeeze, Hüsker Dü, and the Cars. Lyrics take inspiration from the anime they consume to the feelings of embarrassment at being the worst person in your friend group. Its condensed track list and big sound make this pick a no-brainer. Eight tracks represent a band who clearly put work and love into their craft. The proof is in the record itself. While the band is definitely ready for the radio, we’re lucky to have them here in punk rock. Radkey’s Bedroom San is out now on Little Man Records.

Rebel Grrrls covers six major topics in punk rock and how it relates to feminism: British Punk, American 1980s Hardcore, Riot Grrrl, Emo, the radical punk resurgence in the 2010s, and the potential future of feminism in punk. For the older scenes that have been covered previously, Tie recounts what created the scene rather than recycling the histories we’ve heard a million times. It doesn’t mean the bands or figures aren’t mentioned, but it does put them in a different light. Each of the pioneering women of each era gets a good amount of space dedicated to their story.

Molly Tie writes with authority, taking the reins and course-correcting a genre that is supposedly more open-minded than most. While punk rock did some things right, it still fell into its own traps and eventually the same problems as other movements. She understands this by not only retelling the stories of punk rock performers but also interviewing people who were in the scene. These interviews give Rebel Grrrls a more grounded, human angle than most books about the scene or genre. Most of the interviewees are women located in the UK, where the author resides, but this gives perspective on how American punk and, in some cases, politics are interpreted across the pond. Despite being from England, her grasp of American politics is pretty spot on. Tie’s dissection of American politics feels more real than those found in American history books.

Rebel Grrrls gives the women who were present in these different eras of the genre the credit they deserved the whole time. I’m sure people will push back and say they have been, but as usual, things were left out or miscredited. This aspect also makes it one of the best Punk Rock History books. Not only does it highlight the minimized contributions that women have brought to punk, but it concisely gives a great history of punk rock’s roots to the many branches each era has given us. If making sure the proper people being credited wasn’t enough, Tie has plenty to say about women’s roles and how they were treated in punk rock and in general. Things like pop punk neutering punk rock politically, while allowing boys to developing a voice that inadvertently belittled the work women like Kathleen Hanna and others had put in during the era before it. Something like this may come off as a bold statement, however it’s things like this that have needed to be said for a while.

Molly Tie’s Rebel Grrrls: The Real Story of Women and Punk is one of the best books on punk history you will read. I suspect a lot of people (men) will be turned off by the title. While the book mostly focuses on the contribution women have provided to the genre, it doesn’t completely shut men out. If anything, it levels the playing field. I appreciate the way it is able to provide historical context of punk rock and what it says about punk rock and feminism through the evolution of both. For a book highlighting women’s contribution to the genre, it has a lot of balls. Rebel Grrrls: The Real Story of Women and Punk is available through Omnibus Press.

With additions to their lineup, DAZGAK!, a mighty quartet, the band has been able to unlock a new sound for themselves and up their game. These songs are a great representation of that, and the result gives them a more mature sound while sticking to their roots. DAZGAK! will be jointly releasing their new EP Stimpy on July 24th via Floodlit Recordings (UK) and Smithsfoodgroup DIY (EU). 

For those of us who don’t live in the UK or Europe, you can check the record via their Bandcamp. 

Check out DAZGAK! and their new EP, Stimpy, when it drops on July 24th.

Also, The Sleights have a bunch of tour dates coming up over the next few months. Go to a show!!

JULY

24 — Pueblo, CO — The Gold Dust

30 — Omaha, NE — Reverb Lounge

31 — Chicago, IL — Livewire

AUGUST

1 — Cleveland, OH — 9th St DIY Skate Park

2 — Pittsburgh, PA — Remedy

3 — Boston, MA — The Midway Cafe

4 — New York City, NY — The Hart Bar

5 — Asbury Park, NJ — Asbury Park Brewery

10 — Richmond, VA — Get Tight

11 — Wilmington, NC — Reggie’s

12 — Chapel Hill, NC — Local 506

13 — Charleston, SC — Bearded: A Social Tavern

14 — Charlotte, NC — Tommy’s Pub

15 — Louisville, KY — Spinellis

16 — Knoxville, TN — Birdhouse

17 — Cincinnati, OH — Comet

18 — St. Louis, MO — FUBAR Lounge

19 — Kansas City, MO — SK8BAR

21 — Denver, CO — Bar 404*

28 — Salida, CO — Tres Litros

29 — Crested Butte, CO — CB Punk Fest

SEPTEMBER

11 — Fort Collins, CO — Surfside 7

12 — Colorado Springs, CO — What’s Left Records*

OCTOBER

10 — Trinidad, CO — Fancy Spider Fest