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After spending the Summer playing stadiums opening for Green Day and The Rolling Stones, The Linda Lindas are out on the road supporting their new album, No Obligation. For their first major headlining tour since releasing their sophomore album last Fall, the young punk quartet brought along Garage-Punk veterans, Be Your Own Pet for the western leg of the tour and recruited somewhat locals, Chicano Mosh for their show at The Glass House in Pomona, CA.

Chicano Mosh are a blend of upbeat Pop-Punk and Garage-Rock built on Mexican pride. Their own band of followers made sure to come out and show their support for the up-and-comers, brandishing the Mexican flag and singing along.

Be Your Own Pet were next. The troupe rambled around the stage while courting the crowd with tracks from their 2023 release, Mommy -- their first album after breaking up in 2008 -- while throwing in numbers from their first 2 albums. Frontwoman, Jermina Pearl never let up with her nonstop dancing and whipping her head back and forth enough to give ME a sore neck.

It was time for The Linda Lindas. The four heralds of young punk walked out to the sound of Jawbreaker's "Boxcar." They opened with the title track of their sophomore album, No Obligation. The mix of kids and adults screamed along with bass player and vocalist, Eloise Wong while bandmate Lucia De La Garza stomped and hopped around the stage. The band continued on with tracks from No Obligation, eventually rounding out the entire album while sneaking covers of The Talking Heads and Los Prisioneros' "Tren Al Sur" in between.

They finished the set with their viral "Racist, Sexist Boy" but not before Eloise used their platform to speak out, yelling to "Free Palestine," "Protect Trans Kids," and "Protect Immigrants." A declaration that seemed to deter at least one concertgoer. Someone who'd been filming most of the set decided to leave following the remarks. I can only hope The Linda Lindas continue to speak out and upset fascists.

The band came back for their encore that included a cover of Green Day's "When I Come Around" with an interlude of Jawbreaker's "Want" and their hit single "All In My Head." When it came time to close out the night, they invited Be Your Own Pet and Chicano Mosh back on stage for a dance party while they performed Bikini Kill's "Rebel Girl."

The Linda Lindas are ushering in a new generation of Punk rockers and their live shows are their soap boxes. The band are great performers and this was one of the best shows I've seen so far this year. They'll be heading to the Midwest and East Coast with Pinkshift for the second leg of their headlining tour. Check out a gallery of photos from the show below.

PJ Harvey 
Sydney Opera House Forecourt
13 March 2025
Sydney, Australia

Some artists perform. PJ Harvey transmutes. Like a figure walking between worlds, she never lingers too long in one place, never allows herself to fossilize into nostalgia. Instead, she reinvents - without ever severing the thread that binds her to her own mythos.

On the Sydney Opera House Forecourt, beneath a sky that hovered between dusk and ink, she did not simply return after eight years - she arrived, once again, as something new, yet deeply familiar. Clad in spectral white, she was part oracle, part wandering poet, part phantom slipping between centuries. The air itself seemed altered, thick with the kind of reverence reserved for artists who don’t just hold a career but a legacy.

This was no ordinary setlist. It was a weaving of past and present, tethered largely to I Inside the Old Year Dying- - an album that feels less like a collection of songs and more like a whispered transmission from some forgotten place. The album’s lexicon, built from fragments of archaic English and Dorset folklore, carried into the live experience like an old book brought to life.

She opened with Prayer at the Gate, her voice delicate yet commanding, as if summoning unseen forces. The stage - lit like a woodland clearing caught between twilight and dream - felt more like a passageway than a platform. Each note flickered like candlelight in the dark, and by Seem an I, she was no longer just singing - she was moving like something untethered, a shadow stepping out of time.

There was an unmistakable alchemy at play, a theatrical mysticism that recalled Kate Bush in her heyday. The way Bush once moved across the stage - part wraith, part storyteller, her voice floating between ethereal whispers and primal howls - found its echo in Harvey’s presence. But whereas Bush’s art was steeped in surreal romanticism, Harvey’s was raw, earthen, filled with the murmur of ghosts and the pull of ancient soil. If Bush conjured spirits from the attic, Harvey unearthed them from the roots.

The spectral atmosphere deepened with The Nether-Edge, its haunting drones stretching into the night air like tendrils of mist, while Lwonesome Tonight had the strange intimacy of a fireside confession. Her band - longtime alchemists of sound John Parish, James Johnston, Jean-Marc Butty, and Giovanni Ferrario - played not as backing musicians but as echoes, reverberations of whatever spectral landscape Harvey was painting.

Yet Harvey has never been a prisoner of her present. Some artists carve out eras like museum exhibits - pristine, preserved, untouched. But her past work does not sit still; it moves with her, reshaping itself. When 50ft Queenie erupted mid-set, it wasn’t nostalgia - it was time folding in on itself, the raw bite of 1993 crashing against the eerie hush of her latest work. The same could be said for The Glorious Land, its war-drummed refrain bleeding into The Words That Maketh Murder, as if history were circling itself, whispering the same warning.

And then there was Down by the Water - the song that first cast her as a gothic siren in the mid-'90s. Here, it felt even more haunted, istretching out like a cautionary lullaby sung at the edge of the abyss.

It was not the raucous, call-and-response climax some might expect from a closing number. But that has never been Harvey’s way. She does not bow to expectations - she dismantles them, rearranges them, leaves behind only what she chooses.

She spoke little, as she always does and then she was gone. No overexplanation. No indulgence.

PJ Harvey does not need to overstay. The weight of her presence lingers long after she exits, like ink drying on a final page. To witness her live is not simply to watch a concert - it is to glimpse an artist in a constant state of becoming, one who understands that the only way to remain true is to keep moving, always.

The Get Up Kids just finished the US leg of their 25th Anniversary Tour for their seminal album, Something To Write Home About with 2 nights at The Glass House in Pomona. Of course, I didn't wanna miss it. Following support from Indie-Rock band, Ozma -- who ran through tracks from their first three LPs, as well as a cover of the folk song "Korobeiniki" ( you might know it as the Tetris theme song), and Cheap Trick's "Surrender" -- The Get Up Kids came out to play through their sophomore classic from start to finish. To ensure the fans had a night not to forget, they pulled out fan favorites from Four Minute Mile like "Stay Gold, Ponyboy" and "Don't Hate Me", along with a few tracks from On A Wire and The Guilt Show. The band will continue the celebrations overseas in Europe and The UK this Summer. 

In the meantime, check out a gallery from their first Glass House show below:

Chat Pile are about to wrap up their US West Coast and Canada tour with Gouge Away this week. I was fortunate enough to catch the sludgy rockers when they came through Pomona last week.

Kansas City's Nightosphere has opened the shows every night. The trio's unique blend of shoegaze and slowcore is fit for moody long nighttime drives. Second on the bill is Hardcore Punk act Gouge Away, who released Deep Sage last year—their first new album in six years. The juxtaposition between the two bands made for an interesting night. Gouge Away filled the room with their ferocious sound and Christina Michelle's boisterous vocals. 

Chat Pile took to the stage with the Austin Powers theme song blasting from the house speakers before jumping into "The New World." The crowd responded with push-pitting and fist pumps. Between songs, frontman Raygun Busch would divulge trivia about movies filmed in the city of Pomona, like That Thing You Do! being filmed at the nearby Fairplex, or Mike Myers' Cat in the Hat filmed downtown. When he wasn't spouting facts about movies, he was meandering around the stage like an anxious animal at the zoo while his arms freely flowed around like a ribbon dancer. The set mostly consisted of tracks from their new album, Cool World, like "Shame" and "I am Dog Now" but they still threw in older songs like "Why?" from God's Country and "Rat Boy" from their 2019 debut EP.

The band will continue to promote Cool World when they head to Europe for a full tour with HIRS Collective and Agriculture. You can find dates below as well as a gallery from the night!

In a time of a lot of bullshit going on, spending Valentine's Day with my wife and Cursive at my favorite venue was a great escape. Cursive are out on the road in support of their newest album, Devourer, with support from Boston-Rock quartet, Pile. I hadn't previously heard of Pile and was surprised to find out how long they've been around and the number of releases they currently have. I was blown away by their blend of Noise-Rock, Indie-Rock, and Post-Hardcore. When they closed out their set reviling Stephen Miller, I made my way to the merch booth to buy the album. The band also announced they'll be putting out a new album this year on Sooper, so be on the lookout for that.

Cursive walked out on stage and jumped right into "Up and Away" off their new album Devourer. They threw in a smattering of tracks from the album, including "Botch Job," "Dark Star" and the savagely pensive, "Age of Impotence." However the band was very generous with how diverse the rest of the set was. The covered the fan favorites like "Some Red Handed Sleight of Hand," "Art is Hard," "The Martyr," and "The Radiator Hums" from their critically acclaimed albums The Ugly Organ and Domestica, while playing deeper cuts like "Into the Fold" from Happy Hollow and "What Have I Done?" off Mama, I'm Swollen. They covered the early era of Cursive with "The Rhyme Scheme" off their second album The Storms of Early Summer, and their later era with "I Am Goddamn" from 2019's Get Fixed.

Cursive ran the numbers on how many times they've played The Glass House and concluded that this was their Sweet 16. I've lost count of how many of those 16, I've been to, but they've delivered every time and this set was a great celebration of all those years playing this venue. Here's to 16 more! Be sure to catch Cursive when they roll through your town if they haven't yet. You can check out a gallery of photos below.