The Riviera Theatre was the perfect backdrop for Lindsay Jordan’s triumphant return to Chicago this past Saturday. Touring in support of her third studio album, Ricochet, Jordan transformed the historic venue into a lush, ’90s-inspired suburban dreamscape, complete with a white picket fence and house facade on stage. The atmosphere was electric but intimate, as a packed house watched the generational songwriter guide them through a setlist that balanced her signature indie-rock grit with a newfound, mature poise.

The set focused heavily on the fresh material from Ricochet, which was released just a few weeks ago. These new tracks—like the soaring lead single “Dead End” and the existential anthem “My Maker”—felt more expansive, trading some of the raw heartbreak of Lush for intricate string arrangements and shimmering, power-pop melodies. One of the night’s most poignant moments occurred toward the end of the show when the band stepped aside, leaving Jordan alone with a cellist for a stripped-back, haunting rendition of the title track.

Jordan closed the night with a high-energy encore of early staples “Thinning” and “Pristine,” reminding everyone why she became a staple of the “sad girl rock” sphere in the first place. Between songs, she was quick-witted and playful, quipping with the crowd and dedicating “Tonight, Tonight” to the women in the audience. It was a performance that felt like a full-circle moment—proving that while time moves on, Snail Mail’s ability to capture the weight of a single moment remains as sharp as ever.

Avalon Emerson :

Sharp Pins :

Snail Mail :

Sabrina Carpenter Coachella 2026

There are pop stars who perform, and then there are pop stars who build a whole experience. At Coachella on April 10, 2026, Sabrina Carpenter did exactly that. Her headlining set felt less like a concert and more like stepping into a playful, high-gloss version of her world, “SABRINAWOOD”.

From the start, the stage looked like a movie set inspired by old Hollywood. There were cinematic visuals, dramatic transitions, and a clear sense that every detail had been meticulously planned. Instead of just running through her biggest hits, Carpenter organized the show into themed sections, each with its own vibe. One moment felt glamorous and vintage, the next leaned into disco energy, and later she turned up the drama with more theatrical, burlesque-style moments.

Sparkling outfits, feathers, and sleek silhouettes kept things visually exciting without ever feeling overdone. Musically, she delivered exactly what the crowd came for. “Espresso” was a standout, with the audience singing along loudly enough to almost take over the song. “Please Please Please” and “Taste” kept that momentum going. Her vocals were strong throughout the set, and she seemed more confident than ever.

Some of the guest appearances from actors like Will Ferrell and Susan Sarandon, went on a little too long and broke up the flow of the show. Still, they fit her sense of humor and didn’t take away too much from the overall experience.

What stood out most was how comfortable she looked in the headliner role. Two years after teasing this exact outcome on the same desert stage, Carpenter returned not just to headline, but to dominate. By the end of the night, it was clear that Sabrina Carpenter had arrived as a true festival headliner. The set was confident, creative, and memorable. At Coachella, that is exactly what matters most.

Some sets at Coachella introduce you to an artist, others feel like a statement. KATSEYE landed somewhere right in the middle, delivering a performance that felt like both an arrival and a preview of what’s coming next.

From the moment they stepped on stage, there was a clear sense of intention. The choreography was tight, the visuals were sharp, and the group moved with the kind of confidence you usually see from acts much further into their careers.

One of the biggest highlights came when they brought out guest performers from K-Pop Demon Hunters for a special performance of “Golden.” The collaboration added a fun, unexpected twist to the set.

Then came another major first. “Pinkys Up” made its live debut, and it did not disappoint. The track brought a playful, slightly rebellious energy that fit perfectly into the flow of the show. You could feel the shift in the crowd as soon as it started. There’s something special about witnessing a song’s first live performance, and KATSEYE made sure it landed.

At a festival known for breakout moments, KATSEYE made a compelling case that they’re not just emerging, they’re ready to stay.

It had been a long eight years since MGK last graced Australian stages, and that wait was finally over. After kicking off the Lost Americana arena tour in Perth earlier in the week, it was now Melbourne’s turn, with fans packing into a sold-out Rod Laver Arena.

From the moment you stepped inside, the atmosphere was electric. An inflatable Statue of Liberty head loomed over the stage, paired with a cigarette-shaped mic stand, a visual hint of what’s to come. As the band took their places, anticipation reached a high. Then, without warning, he appeared centre stage and the crowd erupted. The show opened exactly as the album does, with Outlaw Overture. MGK took a drag from his cigarette as a guitar descended into his hands, an entrance that felt nothing short of cinematic. The energy surged immediately from the first song, and with Starman and Don’t Wait Run Fast next, there was no room for a break, the high just kept coming. Joking around on stage, he also shared that he got his nipple pierced here in Melbourne, proceeding to say this was a night to “free the nip”, encouraging anyone else to join him. MGK was then joined on stage by his friend and bandmate Slim, where the two tore through a medley of Maybe, Wild Boy, and El Diablo, jumping across the stage and sharing quick handshakes of solidarity throughout.

The tone then shifted into something far more emotional. MGK paid tribute to his late Australian friend, Dingo, sharing how difficult it was to be back in his home country without him. He invited Dingo’s mother on stage, and the two embraced in a deeply moving moment. MGK revealed that before Dingo passed, he had wanted to gift his mum a puppy, a promise left unfulfilled. In an incredibly heartfelt gesture, MGK fulfilled that wish, presenting her with a golden retriever puppy, displayed on the big screen as she accepted the gift.

The space was given for this moment, then tracks like I Think I’m Okay and a cover of Paramore’s Misery Business reignited the room, while DAYWALKER! took things to another level entirely with explosive pyro and MGK showcasing his screaming vocals.

After a fiery performance of Forget Me Too, MGK made his way through the crowd to the B-stage, sending waves of screams across the arena. With an acoustic guitar in hand, he delivered a more intimate segment of the show. “Glass House” was a standout, a surprising, but very welcome inclusion, as phone lights illuminated the arena. This moment flowed beautifully into Times of My Life, a cover of Blink-182’s I Miss You, Love Race and 27, which felt especially personal, particularly for those at the back suddenly closer to the action than expected.

He effortlessly transitions through each track. We truly lucked out with the setlist on this tour, while it rightfully champions his latest album, it also weaves in fan-favourite throwbacks and new bangers, spanning an impressive thirty-one songs.

Throughout the night, the connection between MGK and the crowd was undeniable. The energy was completely symbiotic, everything he gave was thrown right back at him. Melbourne showed up, and I’m sure he felt it. Although this is evident when listening to his albums, what stood out most was MGK’s versatility. He took us on a journey through the many genres and facets that make him the artist he is, effortlessly moving between rap, pop-punk, rock, a little country, stripped-back acoustic moments, and even heavier elements, proving he truly can do it all. No matter which era of his music you connected with, there was something for everyone.

MGK has been an artist who, no matter what he does, receives some form of backlash for switching genres. However, this feels like the era where he is unapologetically himself, and it comes across so strongly on stage, especially during Cliché,  where he leans into the viral dance from the music video. His comfort on stage and the way he simply has fun with it is amazing to watch.

With pyro, a sold-out crowd, stage props, and back-up dancers, this wasn’t just an artist performing songs, it was a full production. He has grown so much, both as an artist and in popularity, and it’s only going up from here. Whatever he chooses to do next, we know we’re in safe hands as he continues to excel, and we look forward to him returning, hopefully much sooner than eight years.

Machine Gun Kelly :

On the 8th of April, the night had finally arrived as the Big Rock Tour took over Melbourne’s Rod Laver Arena. Featuring co-headliners A Day To Remember and Papa Roach, with Landmvrks opening, it promised to be a feast for rock fans. From the moment people lined up outside to when they poured into the venue, the crowd was buzzing with anticipation, everyone was ready for the night ahead.

Kicking off the evening were Landmvrks, all the way from France. The heavy hitters received a warm welcome from the Melbourne crowd, with fans fully engaged throughout their set and feeding off the band’s intensity. I had heard many great things about this band from the last time they were here last year for their headline tour and they definitely lived up to the expectations. 

Next up was the first headliner of the evening, Papa Roach, a band who formed in 1993, they are responsible for staple tracks like Scars and Help. This was their first time back in Australia since 2023, and they made sure it was unforgettable. Their set was hot and fiery, with pyro blazing across the stage for the majority of the performance. Frontman Jacoby Shaddix is just such an energising frontman, effortlessly working the crowd. At one point, he jokingly claimed that Perth and Adelaide were better crowds, earning boos from the audience before quickly revealing he was just trying to rile Melbourne up and wanted to see even more energy. He also called out those still sitting, shouting, “This isn’t a U2 concert,” trying to get everyone to get on their feet. Not confining himself to the stage, he got fully into the mix of it and joined those in the tiered seating on the left side of the arena getting up close and personal with the fans during To Be Loved.

During intermission, the tone shifted with a message from Jacoby appearing on screen speaking on mental health awareness, alongside their incredible initiative to donate a portion of ticket sales from each show to a local mental health charity. This then transitioned into the emotional track Leave a Light On paired with phone lights filling the arena, which was then followed by a moment of silence for suicide victims. After thanking the crowd, the band reignited the energy with Scars, which sounded phenomenal live. We also got to hear a newer release called BRAINDEAD which was described by Jacoby himself as meant to be for the mosh pit, and it was a hit!

They then took fans on what Jacoby called a “nu-metal time machine,” playing snippets of classics like Blind, My Own Summer, which then lead to him making his way into the seats at the right side of the stage for Break Stuff, and Chop Suey and saying hello to those at the back of the arena. The medley wrapped up with Jacoby returning to the stage before launching straight into their iconic closer, Last Resort, with the entire arena singing along.

Let’s just say, by the end of the set, Jacoby Shaddix was praising Melbourne as the best crowd of the tour so far, even stating, “I haven’t said that yet.” Here’s hoping the Melbourne crowd can hold onto that title for the rest of the Australian tour.

Papa Roach may have been a “nice to see” band for me beforehand, but after that performance they’ve become a must-see, and I have no doubt many others left feeling the same. Ending their set, Jacoby said he couldn’t wait to return to Melbourne again, and if this show is anything to go by, fans will be hoping it’s sooner rather than later.

As the lights dimmed again, the screen lit up with A Day To Remember’s rock-carved logo, one by one, the band members took the stage before frontman Jeremy McKinnon ran out to an even louder roar. They wasted no time, kicking things off with The Downfall of Us All, what a perfect, high-energy opener that had the entire arena singing along. Their setlist perfectly balanced old favourites with newer tracks, including All My Friends from their latest album, which already feels like a future classic judging by the volume that the song was sung back to them, with an explosive of confetti during the bridge.

Jeremy took a moment to thank the crowd for welcoming them back, reflecting on how important Australia has been to the band’s journey. He shared that on their very first visit, they played to such a large crowd, and said they’ve probably toured Australia more than anywhere else outside of the US. He also added that they’re “trying to move here,” laughing as he asked if anyone wanted to marry them for visas, “we need five husbands.”

If you’re part of the scene, Have Faith In Me is one of those songs you have to hear live at least once, it’s a true anthem. Dedicated to all the ladies in the crowd, and just like on the studio version, it begins acoustically before building into a heavier, more powerful moment in the bridge, hitting even harder in a live setting. Paired with a burst of confetti raining down, the whole arena was singing along, adding to the euphoric atmosphere.

That energy quickly shifted as an epic mosh broke out during the iconic breakdown of Mr. Highway’s Thinking About the End. A Day To Remember’s “crowd surfing on top of crowd surfers” segment made its usual appearance, with Jeremy joking, “As you can see, it’s also fcking dangerous and you probably shouldn’t do it, but who are we to stand in the way of you becoming a fcking living legend,” which sent crowdsurfers surging toward the stage during It’s Complicated.

Then came LeBron, where inflatable basketballs filled the pit and two hoops were brought out for a crowd competition, because, of course. The left side clearly dominated, prompting Jeremy to jokingly fold up the right side’s hoop for a moment mid-song. All I Want followed, keeping the crowd’s energy high as everyone clapped in unison, before The Plot to Bomb the Panhandle continued the momentum with the band bouncing along with the crowd.After joking “f*ck encores, we’re just going to play three more songs if that’s okay with you,” the band returned to a softer moment with If It Means a Lot to You. The crowd sang every word back as phone lights filled the arena once again, with another burst of confetti during the heavy bridge.

Thanking everyone for coming to the Big Rock Tour, they closed the night with All Signs Point to Lauderdale, saying, “We’re A Day To Remember, this is our last one for tonight, let’s see if you know this one,” as rolls of toilet paper flew through the pit. 

With pyro, confetti, rolls of toilet paper and basketballs flying everywhere, it was pure chaos in the best possible way. The band sounded just as impressive live as they do in the studio, all while delivering an incredibly fun performance.

The Big Rock Tour delivered everything you could want from a night of heavy music, energy, chaos and nostalgia. From start to finish, each band brought something different, but together they created a show that will be very hard to forget!

A Day To Remember :

Papa Roach :

Post-hardcore band Mclusky packed out Metro on April 4, delivering a set that felt like a full-circle celebration of their catalog. Running through 20+ tracks, the band pulled from across their discography—mclusky Do Dallas, The Difference Between Me and You Is That I’m Not on Fire, the world is still here and so are we, and more—giving longtime fans exactly what they came for.

The crowd in Chicago reflected that legacy, with a wide mix of ages that spoke to the band’s staying power since the ’90s. It felt like a room that had been waiting a long time for this moment, and the energy backed that up all night.

If you’re into loud, high-energy shows that don’t let up, Mclusky’s current U.S. run is worth catching. The tour continues through mid-April with stops in Boston, New York, Philadelphia, and Washington, D.C.

Mclusky :