The packed venue was abuzz when sole opener, indie rockers Barcelona, began their set. The piano-based group’s mellow music was a perfect complement to Carrabba’s songs. Lead vocalist Brian Fennell praised California audiences and said, “It’s the coolest thing to watch people sing along to Dashboard songs. You guys are a hardcore bunch. It’s going to be awesome.” Their sound was reminiscent of Lovedrug or Death Cab for Cutie, and the band’s set included several tracks off their debut album, Absolutes, such as “Come Back When You Can” and “Please Don’t Go.”

Chris Carrabba was true to his roots as he took the stage – a lone spotlight illuminated an acoustic guitar that Carrabba used to lead his sermon to the congregation of once-brokenhearted teens who were now adults recapturing those nights of singing along with Dashboard Confessional songs. The church of Carrabba was in service that night, and the audience warmly greeted him like an old friend. While the metaphor might seem extreme, any diehard Dashboard fan will tell you his performances are as close to a religious experience as a concert can be.

Opening with “Good Fight” off the seminal emo album The Places You Have Come To Fear The Most, Carrabba lead a sing along that would continue through the night. The back-and-forth between Carrabba and his devoted fans began as he sang, “I begged you not to go,” and the crowd screamed back, “I begged you! I pleaded!”

The crowd overpowered Carrabba’s voice during every song’s chorus, and he happily walked back from the microphone as fans sang every powerful word back to its writer. As Carrabba scream-sang feet away from the microphone, a trademark Dashboard Confessional move, every lyric was filled with emotion yet somehow he stayed on pitch. At the end of most songs, Carrabba held out gut-wrenching notes as he strummed his acoustic and the audience screamed their approval.

Carrabba performed numerous classic Dashboard Confessional songs, including “The Places You Have Come To Fear the Most,” “Again I Go Unnoticed,” and “Saints and Sailors.” Every Dashboard Confessional lyric can be an entire story, and as the crowd sang, “This is about as social as I get now,” it was clear they’d spent hours listening and relating to these songs. “Screaming Infidelities” generated an immediate reaction, and the final three cathartic choruses were sung solely by the audience.

Carrabba thanked fans and explained, “I was in hiding for a while and I started writing new songs,” before playing a brand new song, “Cold Comfort,” which contained all the familiar Dashboard characteristics: poetic, emotional lyrics, catchy melodies, and a hook that keeps you coming back for more. He played a few tracks from his covers album as well, including Guy Clark’s “The Cape,” a song that Carrabba has “related to every single year of my life.” He even added a nod to Say Anything, playing a chorus of “Wow I Can Get Sexual Too ” during the outro of “Remember to Breathe.”

Hearing Carrabba’s older songs live surrounded by diehard, screaming fans was like hearing them for the first time. “Hands Down” was overwhelming as Carrabba repeated the final “you meant it” dozens of times. The bitterness-laced “The Best Deceptions” closed out the evening with fans serenading each other, singing, “So kiss me hard ’cause this will be the last time that I let you.”

There is no question Chris Carrabba has contributed more to the emo genre than most artists can dream of. He has crafted the soundtrack to so many heartbreaks and lonely nights that it’s unbelievable he has more in store. Andy Greenwald’s Nothing Feels Good perfectly captures the essence of Carrabba’s music and his description of Dashboard Confessional shows could not be more on point – “Dashboard Confessional concerts shatter boundaries between performer and audience, between artist and fan, and between complete strangers. There is an indescribable energy in the room; there’s no shame, no judgement, and no restraint. Individual problems become group therapy; there is strength in numbers. Carrabba runs his voice ragged and lets a roomful of teenagers find theirs.”

It’s only fitting, then, that Carrabba’s shows unite his voice with his audience’s as sing-a-longs create a palpable connection between the singer and his thankful, devoted fans. Los Angeles will patiently be waiting for Carrabba to again bare his soul on stage and lead us through another one of his emotionally powerful, therapeutic concerts.

Chris Carrabba Set List:

1. Good Fight
2. Swiss Army Romance
3. This Bitter Pill
4. Reason To Believe
5. Places You Have Come To Fear The Most
6. Don’t Wait
7. So Impossible
8. Tall Green Grass (cover)
9. Saints and Sailors
10. Cold Comfort
11. Sharp Hint of New Tears
12. Again I Go Unnoticed
13. Screaming Infidelities
14. Age 6 Racer
15. The Cape (cover)
16. Get Me Right
17. Remember To Breathe
18. Stolen
19. Vindicated
20. Ghost of a Good Thing
21. Hands Down
22. The Best Deceptions

For more information on Dashboard Confessional:

Official Site

Opener Go Radio came out swinging from the start. Emotional lead vocalist Jason Lancaster, formerly of Mayday Parade, kicked the night off with “Singing With The King” off the band’s debut album, Lucky Street. The band kept the energy high for the short seven-song set, slowing it down for “Goodnight Moon” and revving things up again for the band’s cover of Adele’s “Rolling In The Deep.” This evening was the final stop of the tour, and bands were clearly celebrating; Go Radio downed Smirnoff Ices before performing the hook-filled, break out hit “Any Other Heart.”

Every Avenue started with the bitter opener “Tie Me Down” from their recent release, Bad Habits. The band took few breaks to address the crowd between songs, explaining that, “All of our musical equipment’s stuck in Texas.” David Strauchman’s vocals were strained, understandably so after six weeks of touring, but that didn’t stop the singer from taking a celebratory shot in between “Whatever Happened To You” and “Fall Apart.”

Members of Go Radio and Yellowcard came onstage as the singer chugged two Smirnoff Ices. The comradery between the bands at the culmination of this tour was clear, and the rest of the set seemed to be more for the bands than the fans, who enjoyed it and cheered along regardless, before the band left with a final promise to be “back soon.”

Yellowcard exploded out of the gate with their recent single “For You, For Your Denial,” followed by an older classic, “Breathing,” representing the evening’s perfect balance of songs from all releases in their extensive discography. Lead vocalist Ryan Key announced that this was Yellowcard’s sixth stop in Los Angeles this year and that they “wanted everyone to lose their voice and have the most fun in their lives” that night. The California-bred pop punk band’s passionate brand of upbeat punk music more than did the job.

The high-energy performance featured a large number of songs from their newest release, When You’re Through Thinking, Say Yes, the album that reunited Yellowcard after their two-year hiatus. Their standard band setup was highlighted by the unique inclusion of a violin as a rhythm instrument, played by Sean Mackin, who also lent passionate vocals and backflips to the night’s performance. Mackin told the crowd, “We’re having so much fun on stage and it’s because of you. We didn’t expect this many people to come out.”

Drummer Longineu W. Parsons showed his expertise with an exhaustive drum solo matched with a perfectly timed light show before the band rejoined him onstage for the poppy “Sound of You and Me” and rocking “Way Away.” Guitarist Ryan Mendez said, “This is the most fun I’ve had all tour…you guys are gunning for best show of the year.”

Key then explained how monumental the House of Blues was to the band. “We played here ten years ago with The Dance Hall Crashers, and the president of Capitol Records came out to see us play. He said, ‘I don’t get the music but obviously the fans like it. We need to sign them,’ and ten years later, we’re still hanging out and having fun and singing along.” The band then dedicated the next song, “Be the Young,” to the crowd, encouraging them to sing the final words, “We’ll forever be the young.”

The crowd went wild for the Los Angeles inspired “Lights and Sounds” and the young-love anthem “Only One.” As the energy hit an evening high, Key addressed the group’s rocky past: “In 2008, we took a break from being a band.” When boos arose, Key threatened to throw guitar picks at the dissatisfied audience members and continued, “In 2010, we made a new record. There you go Mr. Booer, that’s for you. We are nothing without you. We have a lot of work to do to get this band back to where it used to be, and we need your help.” The audience cheered in agreement as the band promised they would record a new record next year after their international tour.

Before the encore, Key began an acoustic set with an emotional story. When he dropped out of college on a full ride to move to California and pursue music, the only support he found was from his Aunt Stephanie. The band penned “Sing For Me” for her after she was diagnosed with an inoperable brain tumor. He explained she had passed away three weeks ago, six months past the doctor’s diagnosis, which Key attributed to the positivity fans have sent out every night with that song. It was the most raw, vulnerable moment of the evening and only solidified the connection between Yellowcard and their devoted fans.

“Empty Apartment” saw the return of the band, and Key announced they were going to “travel back in time now.” Fans knew what was coming as the venue erupted into their breakout hit “Ocean Avenue.” The energy of their set culminated as fans screamed and danced along with the band’s final song of the tour.

Yellowcard may have taken a break, but it’s clear the band is back and better than ever. The energy of their music is infectious, and the group’s passion for performing for their fans is inspiring. It’s time for everyone to catch back up on this band because it’s clear they’ve only matured and grown into their sound over time. A decade after Yellowcard first exploded onto the map, I sincerely hope they maintain their momentum and give us another solid ten years of shows like these.

Yellowcard’s Set List

1. For You, And Your Denial
2. Breathing
3. Rough Landing, Holly
4. Five Becomes Four
5. See Me Smiling
6. With You Around
7. Light the Sky
8. Holly Wood Died
9. The Sound of You and Me
10. Way Away
11. Cut Me, Mick
12. Believe
13. Be The Young
14. Hang You Up
15. Lights and Sounds
16. Only One
17. Sing For Me
18. Empty Apartment
19. Avondale
20. Ocean Avenue

For more information on Yellowcard:

Official site

Uh Huh Her is an indie pop/rock/electro band made up of two powerhouse females, Camila Grey and Leisha Hailey. The duo released their first EP, titled I See Red, in July of 2007, and almost one year after the EP’s release, Uh Huh Her stepped back into the spotlight to present their roaring single “Not a Love Song.” Although it took them another two years to release a full-fledged album, these ladies came back with a vengeance, releasing  Common Reaction in 2010 and both the Black & Blue EP and the full-length, Nocturnes, in 2011. That’s right, two albums in one year. Last year their song “Same High” off that newest album was also featured in the Oscar-nominated film The Kids Are Alright. It seems as if Uh Huh Her is back on the scene for good, finding their way into the hearts of fans and the industry alike.

The show was pulsating; short, sweet, and to the musical point. To promote their new album, Uh Huh Her played mostly songs off of Nocturnes, such as “Human Nature,” “Many Colors,” and closing song “Marstorm.” However, they did squeeze in an old favorite, “Not a Love Song,” for those loyal fans in the crowd who were feeling nostalgic for a classic. The rest of the set list consisted of songs off their Black and Blue EP, including “Philosophy,” “Never The Same,” and the single “Black and Blue.” The duo would switch back and forth between taking over lead vocals and playing the keyboards, bass, and electrical guitar. They were engaged with one another the whole time, energetically dancing and jamming out with their accompanying band members on stage.

The show was nothing short of excellent. A sure-fire way to get you hooked on the band if you’re a first time listener such as myself. I recommend giving these ladies a very careful listen! Their sound is completely unique, dare I say exclusive.  With each album they grow more and more into their own, creating some of the most alluring beats and lyrics I’ve come across… something tells me Uh Huh Her has yet to hit us with their best shot!

For more info on Uh Huh Her visit: Official Site

Or  visit the band’s MySpace and Facebook pages.

Opener Transit may be relatively new in the punk-rock scene as compared to their tourmates, but they still had an impressive amount of fans in the audience. Their recently released, critically acclaimed album Listen & Forgive may have had a hand in that as the Boston-based group played several tracks off the new record, including their newest single “Long Lost Friends.” This up-and-coming band was the perfect opening act for the evening as fans were given a taste of a newer band in the midst of more established groups.

Brooklyn’s I Am The Avalanche had the crowd headbanging in time from their first song. Fresh off a release as well, the band played several tracks from their new Avalanche United album. Lead vocalist Vinnie Caruana spoke often in between songs, but eventually stated, “I don’t wanna listen to myself talk anymore. I just wanna play music.” After noting that this was their first time playing Los Angeles in years, the band launched into “This Is Dungeon Music” with, “I’m getting real suspicious of the one I love.”

“My Second Restraining Order” featured Brett Romnes’ throbbing double bass as Caruana repeatedly screamed, “I want my fucking records back.” The group ended with their powerful, breakout hit “I Took A Beating,” during which the crowd sang back the gang vocals, echoing “beating” as the band requested a circle pit in the final breakdown.

Despite Saves the Day being the headliner that evening, Bayside was the clear draw as the floor was crammed when Anthony Raneri appeared under a lone spotlight strumming the opening chords of “Blame It On Bad Luck.” Amps appropriately spelled out “CULT,”  proving to be an apt description of the band’s devoted following. Knocking fifteen emotionally powerful songs out of the park, the band encouraged fans to throw up their hands and sing the gang vocals, particularly in songs like “Sick! Sick! Sick!” The crowd remained energetic and engaged for the upbeat “Carry On,” the eerie waltzing “Walking Wounded,” and the regretful “Killing Time.”

Raneri paused in the middle of the group’s set to address the crowd’s steadfast dedication. He explained, “This is our eleventh year as a band, and we’ve been coming to LA for ten years. LA is a tough crowd – you guys have seen it all, you go to shows every day of the week. You guys are tough to get, but once you’re got, you’re unbelievable.” He then began the band’s deeply personal acoustic track “Don’t Call Me Peanut,” during which Raneri was overpowered by the singing crowd. In one of the most emotionally poignant moments of the evening, the guitars were silenced and the crowd screamed, “I may have your heart, he has your body.” The overwhelming energy of Bayside’s performance matched the energy of their music during set closer, “Devotion and Desire,” and the band ended their performance with gifts of water bottles, drum sticks, guitar picks, and set lists.

As Saves The Day took the stage, the buzzing excitement of the venue had dipped notably, and the floor had cleared out significantly. After seventeen years of making music, Saves The Day shouldn’t be surprised that audience members may have caught their shows once or twice before and weren’t as excited for these punk pop legends. The group began with a one two punch of classic songs “Cards and Calories” (with the all-too appropriate lyrics, “grew up in East LA, watching celebrities”) followed by “Shoulder To The Wheel.”

Singer Chris Conley stuck close to the microphone, bopping back and forth with his signature high-pitched voice. Saves The Day hung the same signature banner behind them that they’ve been touring with for years, and there was no theme forwarding their set. Their performance was straight and to the point as the group packed in a ton of short songs ranging from staples like “Holly Hox Forget Me Nots” and “Freakish” to newer songs such as “1984″ off their most recent album Daybreak. It seemed like a trip down memory lane for most audience members as the sing-a-longs remained loud but the energy somewhat low. Band members didn’t address the audience often, and Conley briefly thanked fans before finishing with “At Your Funeral” and walking off sans encore.

There’s no doubt the opening bands that evening revved up the crowd and prepared them for a night of solid punk rock music. It’s not unheard of for a supporting band to draw the biggest crowd and Bayside was no exception – the energy unquestionably peaked during their performance. Their devout fan base came out in droves and stayed to see headliner Saves the Day, who may have noted the lessened enthusiasm but nevertheless performed seventeen of their best tracks. These bands have been through LA dozens of times before, and this surely won’t be their last performance here in, according to Raneri, “the toughest but most rewarding” city to play in the country.

For more info on Saves the Day:

Official Site

For more info on Bayside:

Official Site

Presented by KROQ, the evening kicked off with This Time Next Year. Hailing from Northern California, the band played a short set and had little space to move around (a seemingly necessary requirement for bands performing high-energy, pop punk shows). It seemed like it was the first time many people had seen the group as the audience’s energy was lacking, but people were definitely paying attention as they played through their six-song set, closing with “Alex in Wonderland.”

New Jersey’s Man Overboard, whose name has become synonymous with their slogan “Defend Pop Punk,” took the stage to a loud applause. Opening with upbeat tracks “Favorite Girl,” “Spunn,” and “Fantasy Girl,” the band barely paused between songs.

Bassist and singer Nik Bruzzese announced Man Overboard’s recent self-titled release, saying, “We worked our fucking asses off, and it was produced by New Found Glory’s Steve Klein,” the first of many nods to New Found Glory. Fans already knew the words to songs off the new album, like “Dead End Dreams.” Man Overboard added a slur of additional obscenities during older songs like “Septemberism,” upping the emotional ante. The music cut out as the crowd sang back, “I hate you, you should’ve picked up the phone tonight!”

The Wonder Years has been exponentially gaining popularity in the pop punk scene with their incredibly high-energy shows, enthusiastic audience involvement, and positive message, and tonight’s performance was no exception. The Philadelphia band opened with the appropriate “Came Out Swinging” as lead singer Dan Campbell ran across the stage, swinging his arms and throwing his head back as he powerfully sang to the group’s devout fans. Their uplifting anthem, “Logan Circle,” created a roaring sing-a-long, during which Campbell demanded that the crowd jump along and instructed, “Let me see the biggest circle pit the House of Blues has ever seen!”

Campbell went on to admit he’d listened to New Found Glory since he was thirteen and was grateful to be on tour with a band that had influenced him so much. He then held the microphone stand over the crowd during “My Last Semester” so the fans could scream “I don’t fit in!” before standing against the barricade, arms outstretched as he continued the song. The Wonder Years ended with “Washington Square Park” as Campbell begged the audience, “If you have anything left to give, give it us! Everyone sing! Everyone!” and the crowd happily obliged.

Set Your Goals was welcomed with what was surely the roughest crowd of the evening. It seemed there was always a fan crowd surfing through their set as the somewhat oddly paired Matt Wilson and Jordan Brown utilized overlapping vocals and criss-crossed the stage. The band wasn’t as high energy as previous groups, but that didn’t stop fans from creating multiple mosh pits and flinging their arms and legs out during “Goonies Never Say Die!”

A perfect example of how much these fans loved the band occurred halfway through their set: one crowd surfer landed in front of the barricade, high-fived Brown, and pulled him down off the stage. The fan then pushed his forehead against Brown’s, put his hands on the singer’s shoulders, and sang the lyrics into the microphone before jumping onstage to dive into the crowd again. Crowd surfers throughout the night would reach out to the band once they neared the barricade, hoping for a high five or head pat of approval from the band members, which many received. Brown told the crowd tonight was the “best show we’ve played in LA this year, you guys are awesome!” and thanked New Found Glory, saying they “owed them so much.” The band ended with “Mutiny!” during which fans launched themselves on top of one another.

New Found Glory set the mold for pop punk, and by the time they took the stage, it was clear the pop punk band had influenced not only the audience but also the rest of the groups on tour. Arguably the most popular pop punk band of the last decade, New Found Glory opened with mega hit “Hit Or Miss,” “Never Give Up,” and the powerful anthem “Don’t Let Her Pull You Down,” welcoming everyone to the “Pop Punk’s Not Dead” tour. Every song was a sing-a-long, and the stage was wide open for lead singer Jordan Pundik to run from side to side and sing to the crowd (albeit with no physical interaction like earlier bands). During their set, circle pits formed without instruction and crowd surfers were almost nonexistent.

The twenty-four song set spanned all seven of New Found Glory’s studio albums, and the band maintained its high energy from beginning to end. Guitarist Chad Gilbert announced, “We released an album called Coming Home, and people tell us we never play enough songs off that one so here goes,” before launching into the record’s title track. They powered through hits like “Forget My Name,” “All Downhill from Here,” and “Listen To Your Friends.” Pundik then dedicated “Boy Crazy” to “all the girls in the house,” especially those in the rough pit who “kicked as much ass as the boys.”

New Found Glory was not only supporting pop punk but also promoting their new album Radiosurgery. Pundick thanked the audience for coming, telling fans that “you come to our show because everyone in your life are assholes and we’re family here.” For these devout pop punk fans, it was understood that these bands, these songs, and this crowd was made for sing-alongs.

Gilbert explained that the band was “doing this tour because pop punk is about community. We are a family and wanted to bring that back with the tour. Please support your favorite bands and keep pop punk alive.” Programs were available throughout the venue with more information about the bands on tour to aid in the support of the thriving music genre.

The five-piece emerged for their encore dressed in matching New Found Glory basketball jerseys. As the New Found Glory banner behind the stage fell to reveal the “Pop Punk’s Not Dead” tour logo, the band launched into covers of Green Day’s “Basketcase” and the Ramones’ “Blitzkrieg Bop.” After playing the title track off Radiosurgery, Pundik exclaimed, “I’m starting this one like this,” and sang, “Though you swear that you are true, I’d still pick my friends over you,” which sent the crowd into a frenzy.

Fans left the House of Blues sweaty, bruised, and on a dizzying high from the evening’s energetic performances from some of the most passionate and talented pop punk bands in today’s scene. The impressive lineup that included everyone from rising stars to well-established groups surely made fans feel every dollar spent on the ticket was well worth the price. The “Pop Punk’s Not Dead Tour” proved that not only is pop punk not dead, but thanks to these bands, it’s alive and well.

Opening act Carter Hulsey often tours with Never Shout Never as Christofer Drew is his roommate in their hometown of Joplin, MO. While the artists have similar music styles (heavy emphasis on guitars and emotional lyrics), Hulsey didn’t merit the attention of the preteen girls hyped on the possibility of Drew coming to the stage. He has a unique and soulful brand of music all his own, but this just wasn’t a crowd that came to hear new music, no matter how good it was.

Fake Problems looked like a group of adolescents showing off for the girls in the lunchroom during their first song. The ‘beach punk’ band played a slew of light-hearted, similarly-sounding tracks off their aptly-titled Song For Teenagers. As the diminutive lead singer drank his beer between songs, it felt a little like a high school party. Miming ejaculation during a song in a room full of teenage girls seemed a little off color as well. This Florida band definitely tried to stir up the crowd, but it’s clear they’re still getting their sea legs when it comes to performing. Fake Problems has potential as a pop rock band; they just need some polishing, and this tour presents a great opportunity for them to get in front of a young audience that won’t be too critical.

A Rocket to the Moon, on the other hand, took the stage with an effortless confidence. Lead singer Nick Santino had a clear voice despite struggling to hit the high notes, and the band created a powerful, full sound with just a few members. Although they only have one studio album, their set was chock full of upbeat, catchy pop songs with sad lyrics (such as “I love her half to death but she’s killing me” and “You’re gonna regret you left me”).

While ignoring the exclamations of “I love you!” and “You’re so hot!” during the breaks, the band brought serious personality and talent to their music. The audience, however, stayed focus on the final band and didn’t react as much as the music deserved. A Rocket to the Moon even threw in a cover of “Free Falling,” one of the most overdone songs, but made it their own with a touch of “Absolutely (Story of a Girl)” at the end. Closing their set with their biggest hits, “Dakota” and “Mr. Right,” the crowd was clearly amped up, but that may have been because they knew Never Shout Never was next.

Never Shout Never was the clear draw that evening as the ever-changing, tattoo-covered Cristopher Drew took the stage. Taking a turn into more experimental territory, Drew slid right into the title track from his newest album, Time Travel amidst ear-piercing screams. Teenage fans watched Drew through their cell phones and cameras, shoving each other out of the way in hopes to get close to the 21-year-old wunderkind.

At this point in his relatively short yet wildly successful career, Drew can artistically do whatever he wants and his fans will accept him with open arms. That night, girls seemed to be more concerned with getting Drew’s attention than his talent, despite some beautiful piano playing and amazing harmonies from his back up band when music cut out. While Drew has made a name for himself through his positive demeanor, preaching a belief in peace and love ever since his debut, it’s clear he is shifting towards a more ‘badass’ image. His number of tattoos continues to grow exponentially, and he chain-smoked in between songs, wedging a lit cigarette in the head of his guitar as he performed. During the short acoustic section of his performance, Drew asked the audience members for requests and indulged them with older fan favorites like “She’s Got Style.”

Drew announced, “I’m going to let the words of this song do the talking,” before performing one of the most emotionally powerful songs of the evening. “Sell Out” has some of the most profound lyrics in Drew’s repertoire, with words like “I’m sick of imagery instead of artistry,” and “Even sell outs have their dreams.” While it’s hard to precisely gauge how attentive a crowd can be, it seemed the depth of these words and how reflective they were of Drew’s career thus far soared right over the audience’s heads as they appeared to be more concerned with Drew’s response to their signs with requests such as, “Just one kiss!”

Drew’s musical rebellion against the doubters continued with his upbeat hit “Just Laugh” as he switched between a myriad of guitars. Because Drew can throw up a giant musical middle finger to those that underestimated his talent or used him for profit, he does. Older songs like this one had a much warmer reputation. The singer then issued an open invitation for drinks after the show for anyone who “didn’t have school tomorrow.” His finale began with an electric ukulele, the instrument that launched him to internet-fueled fame. The last songs and arguably his biggest hits, “Trouble” and “Bigcitydreams,” were met with a wave of cheers and screaming sing-a-long.

Before Drew left the stage, he said, “I want to make eye contact with everyone before I leave.” He looked around the two-story venue and soaked up the well-deserved admiration of his predominately female audience. While his image has unquestionably changed since he was launched into the spotlight at a young age, Drew’s talent is unfaltering. The question is can he shake his heartthrob status and be embraced not only for his like, totally adorable looks, but also his musical prowess and creativity? Even if that remains to be seen, fans definitely got what they came for that night. Here’s hoping that the audience paid attention to the rest of the acts that evening and got the full experience of the “LG One’s to Watch” tour.

For more info on Never Shout Never:

Official Site

The line-up for the weekend boasted many classic and hard rock acts, so Gallagher, the opening act for Ray Manzarek and Robbie Krieger of The Doors, wasn’t what I was expecting at all. Her mellow country tunes were a surprise, but still succeeded in entertaining the generations of music lovers who had packed the venue to see the legendary rockers who would follow her act. Gallagher sang out bits of herself, singing brokenhearted tunes and songs from years past, displaying a sweet and gentle sound I didn’t expect to hear. A calm beginning to the evening, I enjoyed her performance before heading off to my next stop.

After seeing Gallagher, I headed over to the House of Blues to see Motion City Soundtrack perform their second set of the night. As I walked between the venues, I managed to catch some tunes from street performers who had set up on the Strip. Loved the singer and band set up on the corner of Larrabee Street and Sunset Street; the percussion and vocals were amazing. I was too lazy to cross the street, so I didn’t get their name but would love to know who they are. I also encountered Jeff Clay on Horn Avenue and Sunset Avenue before some rude motorists drowned him out with their car horns. I was on a mission so I didn’t linger, but I was pleased to see artists performing in the streets and a bit surprised I didn’t see more.

Motion City Soundtrack performed two consecutive hour-long shows, but if I hadn’t seen both listed on the schedule, I wouldn’t have believed it. They never seemed to be lacking in energy and put forth a performance that was every bit as awesome as would be expected from these rockers. The Midwestern band played to an audience that was a little less classic rock and a little more hipster, and though the fans were a different breed than those at the Whisky, their enthusiasm for the music was the same.

There was a nice ebb and flow to the show. The set list was wonderfully balanced between relaxed tunes and high energy songs. Motion City Soundtrack themselves gave off a great energy, and the crowd fed off of it. Keyboardist Jesse Johnson didn’t stop moving, dancing away to each track, and Tony Thaxton wailed away on the drums with a crazy intensity. Vocalist Justin Pierre (check out our recent video interview with the artist!) continually addressed the crowd in between songs, sharing tidbits, odd stories, and also the news that the band was working on a fifth studio album. All-in-all, an awesome show that added a bit of energy to my night.

Next I walked into The Roxy to catch the Buckcherry show and was greeted by the sweet musk of sweat. Heat pulsed throughout the room and bodies were filling every inch of space, so I didn’t get far into the venue. However, with a bit of stealth maneuvering, I was able to snag a spot where I could see the stage. Singer Josh Todd looked like he had swam to the venue, covered in nothing but sweat and tattoos. Listeners standing closest to the stage received frequent showers whenever Todd would shake his head.

The set played to all the strengths of rock & roll with Todd consistently discussing the merits of sex, partying, and various drugs. The crowd went nuts to “Lit Up,” joining in on an intoxicating slow-chant and moshing near the stage for most of the song. Every song drew a similar response as Buckcherry fans thoroughly enjoyed themselves. The band put on a great performance, and Todd dispensed many pearls of wisdom throughout the show.

“Some people search their whole lives for a guarantee, sometimes it’s as simple as a bag of weed on a Friday night,” Todd declared, drawing huge cheers from the crowd, many of whom I suspect may have been under the influence of that guarantee. Todd said that he felt they were in a “time warp,” since their careers had started at The Roxy. The crowd was more than happy to time travel with the band, revisiting their popular release “Sorry” and ending the set with “Crazy Bitch,” their biggest hit to date.

Next I headed into The Viper Room and managed to catch the very end of Purple Melon‘s set. From the tiny bit that I heard, I was simultaneously impressed and bummed that I hadn’t seen more of their show. The crowd was obviously loving the classic pop-rock sound that the Brit band delivered. Purple Melon is releasing a new album next month, and after the tiny sliver of show that I saw, I’ll definitely be grabbing a copy. Singer Tom Hill has a very distinct voice, and overall the band just has a wonderful style that satisfies the pangs of nostalgia while bringing a new energy to the rock genre.

One of the best parts of the Sunset Strip Music Festival is not the music, but being surrounded by other music lovers. Festivals have the best energy because everyone is just there to relax, listen to tunes, and have an amazing time. Both the fans and the Friday night club shows delivered and left me in anticipation for the chaos and insanity tomorrow would surely bring. With a reeling mind, ringing ears, and the promise of stiff limbs in the morning, I headed home for a little rest to prepare for day two on the Strip.

Check back soon for my coverage of Saturday’s SSMF Street Fest!

In 2003, Nolan and bassist Shaun Cooper left Taking Back Sunday to form Straylight Run, and the band just never felt the same to me. Don’t get me wrong, each subsequent album contained some great songs, but no single release seemed to encapsulate the magic of that debut. When it was announced that Taking Back Sunday would be releasing a new album with the original line-up and that they’d be heading out on a tour in support of that release, I was cautiously optimistic, praying this wasn’t some misguided publicity stunt by the label or a last resort attempt to keep the band together after the departure of two more members, Matt Rubano and Matthew Fazzi, in early 2010.

After listening to the new album at least a half-dozen times since its release last Tuesday, I knew the reunion was no gimmick. The songs were tight, melodic, and lyrically on par with anything the band had released prior. I headed out to their show at House of Blues Sunset Strip eager to find out if the chemistry between the members was relegated to the studio or if it would hold up under the lights of the stage, and by the time I left the historic venue, I knew that the band I loved was back and just maybe, better than ever.

After performances by Color Revolt and The New Regime, Thursday kicked off their set with a burst of confetti and the track “Fast to the End.” Other than the random compilation track, I’d never listened to Thursday, but as frontman Geoff Rickly swung the mic over his head, bringing it dangerously close to bassist Tim Payne’s upraised face, I knew that, familiar with the group’s music or not, this was going to be an awesome set. Highlights included “Counting 5-4-3-2-1,” “Understanding In A Car Crash,” “Turnpike Divides,” and “No Answers,” a track off the group’s latest release, No Devolucion, and the creepy, Cold War-era “Preparing for a Nuclear Disaster” short film the group showed on the giant screen behind them mid-performance was a nice (and disturbing) touch.

When the lights finally went down after the intermission and Taking Back Sunday took the stage, I noted the smiles on Nolan and Lazzara’s faces as they kicked off the set with “El Paso,” one of my favorite tracks off the new album. Any animosity the two may have had for one another—and let’s be honest, no break-up (musical or otherwise) is ever truly mutual—seemed to be buried in the past, and the entire band looked like they were enjoying themselves, with no indication that nearly a decade had passed since they’d last toured as a unit.

Lazzara treated the mic like an extension of his body throughout the set, swinging it wildly and causing me to flinch in anticipation of an accident more than once. As he led TBS through a set heavy on the group’s oldest and newest tracks, I sang along with the crowd, alternating like most of them between Lazzara and Nolan’s parts. Not a single song was played that didn’t amp the crowd up another notch within the first few notes, and by the time the band decided to slow it down mid-set, I was ready for the momentary breather.

However, when Lazzara strapped on a guitar and announced he was honored to be performing the next song, Straylight Run’s gorgeous, haunting ballad “Existentialism on Prom Night,” I knew my lungs weren’t going to be getting a break. Really, how can you not sing along to the lyrics, “Sing like you think no one’s listening”? Put that performance down as something I never thought I’d see.

A half-dozen equally amazing songs later, Taking Back Sunday played “This Is All,” and I know I’ve said this already, but the track is definitely one of my favorites from the new album. During the performance, Lazzara eschewed the stage for the crowd, ending up crouched atop of a bar less than ten feet from where I was standing. With a grin on his face, he raised a shot glass to the House of Blues for being such an amazing venue before continuing his trek through the audience during the band’s performance of “Great Romances of the Twentieth Century.”

I noted the impressive length of the mic cable trailing along behind Lazzara as a helpful fan named Trevor pulled the frontman up into the balcony and then turned my attention to the stage. The smile that had graced Nolan’s face earlier in the night had now turned into an ear-to-ear grin. When he called out to Lazzara, “I’ll see you backstage!” before launching into “Cute without the ‘E’ (Cut From the Team),” the track that introduced so many fans to the band, I believed that he was really looking forward to it. As the band says on their website, “There’s no hard feelings, just the future,” and with regards to Taking Back Sunday, it’s a future I’m definitely looking forward to.

Taking Back Sunday Setlist:

1. El Paso
2. Make Damn Sure
3. You Know How I Do
4. Liar (It Takes One to Know One)
5. Faith (When I Let You Down)
6. Bike Scene
7. One-Eighty By Summer
8. Error: Operator
9. Timberwolves at New Jersey
10. Existentialism on Prom Night (Straylight Run Cover)
11. What It Feels Like to Be a Ghost?
12. A Decade Under the Influence
13. Since You’re Gone
14. Set Phasers to Stun
15. You’re So Last Summer
16. Ghostman on Third
17. This Is All
18. Great Romances of the Twentieth Century
19. Cute Without the ‘E’ (Cut from the Team)
20. ENCORE: Your Own Disaster
21. ENCORE: There’s No “I” in Team

Check out the LA Music Blog Facebook for all our photos from the show!

Taking Back Sunday Photos:

Thursday Photos:

For more info on Taking Back Sunday:

Official Site

Formed by frontman Trever Keith in 1991, Face to Face released six studio albums before officially splitting up in September 2004, much to the dismay of legions of punk rock fans. Thankfully, after a few years apart, the group felt the pull of the stage and reunited for a series of live performances, which led to last month’s release of a brand new full-length, Laugh Now, Laugh Later. The first single off the album, “It’s Not All About You,” features an undeniably catchy hook that makes me want to break out a one-woman most pit, but I’ll try to contain myself until their show at Hollywood’s House of Blues tonight. No doubt it’ll make me feel like I’m 15 all over again.

LA Music Blog recently talked to Face to Face founder Trever Keith about the new album, the decision to reunite, and the meaning behind Laugh Now, Laugh Later.

Back in ’04, Face to Face called it quits with The Only Goodbye tour. What made you want to come back and release a new album?

It happened incrementally. First Scott and I decided to reform and do some select shows together. Then we did a tour, and then more tours. and it became apparent that we wanted to keep this thing active, so we decided it was time to make a new record.

This process started back in ‘08. How long did it take to write the new album?

Not too long. We didn’t do it all at once. We started and stopped the process a few times to do some touring and stuff. Probably a total of a couple of months.

The new album is titled Laugh Now, Laugh Later. What does that title mean to the band?

Don’t take anything too seriously. In our previous phase of the band, we were much more uptight. We are a lot more easygoing now.

What was the process like recording this album? Did you feel like it took a minute to get back in the swing or was it a very quick process for the band?

It’s like riding a bike. We went right back into it with very little awkwardness or trepidation.

Laugh Now, Laugh Later was released on Antagonist Records. What made you choose to release on your own imprint rather than going back to Vagrant or another label?

We wanted to have the control over the process of releasing and promoting the record the way we wanted it done.

Do you have a favorite track to play live off the new album?

“Should Anything Go Wrong.”

What about a favorite track off of any of the previous albums?

“A-OK.”

What else does Face to Face have planned for 2011?

Touring, touring, and more touring.

Face to Face Tour Dates:

06/23 – West Hollywood, CA – House of Blues
06/24 – Anaheim, CA – House of Blues
06/26 – Pomona, CA – The Glass House
06/28 – San Diego, CA – House of Blues
06/29 – San Luis Obispo, CA – SLO Brewing Company
07/01 – Mesa, AZ – Nile Theatre
07/02 – Las Vegas, NV – House of Blues

For more info on Face to Face:

Official Site

Needless to say, I’m VERY excited that the line-up responsible for this post-hardcore masterpiece has reconvened and will be releasing a new album next week, and I’m even more excited that they’re embarking on a nationwide tour with Thursday, New Regime, and Colour Revolt that has them playing FOUR Los Angeles-area shows.

I’ll be hitting up the July 1st show at the Hollywood House of Blues, where Taking Back Sunday will also be playing this Sunday, June 26th. If you’re looking for something a little further south, the group will be performing at the Anaheim House of Blues on June 28th and 29th. You can purchase tickets for all shows here, but if you’re a gambling man (or lady), just leave a comment below for a chance to win two FREE tickets to the June 26th show, plus a copy of the new CD, plus a Taking Back Sunday t-shirt (you can thank our friends over at Coca-Cola for this)! Those pluses all add up to a good time, so leave your comment before this Friday for a chance to win.

If you don’t live in the LA area or just want another chance to catch TBS for free, Coca-Cola is also giving away tickets to see Taking Back Sunday at a local venue near you. By entering to win that contest here, you could also unlock access to the exclusive Coke Secret Soundcheck, an intimate pre-concert three-song set performed by Taking Back Sunday.

If you’re a lucky winner of the Coca-Cola presents Taking Back Sunday tickets and Secret Soundcheck access, you will be notified by phone, so make sure your ringer isn’t on silent and that you can pick up your tix at the venue and attend your chosen show on short notice. Lots of chances to win cool prizes, so give that lucky rabbit foot a rub and get to entering!

For more info on Taking Back Sunday:

Official Site