By: Josh Malone

Detroit’s country music fans are gearing up for a highly anticipated annual tradition as 99.5 WYCD’s Ten Man Jam returns on February 12, 2026. Known for its intimate setting and star-powered lineup, the beloved showcase once again brings together a mix of rising artists and established hitmakers, which is headlined this year by multi-platinum entertainer Jon Pardi.

Hosted at The Fillmore Detroit, the Ten Man Jam has built a reputation for delivering a unique concert experience where artists share the stage throughout the night, swapping stories, trading verses, and creating one-of-a-kind moments that can’t be replicated on a typical tour stop. The 2026 edition continues that tradition with a lineup that blends fresh voices with seasoned talent.

Leading the bill, Jon Pardi brings his signature sound and high-energy presence to the Detroit stage. With chart-toppers like “Heartache Medication,” “Dirt on My Boots,” and “Last Night Lonely,” Pardi’s headlining set is expected to anchor the night with the kind of electrifying performance that has made him one of country music’s most consistent live draws.

Joining him are several standout artists making waves across the genre. Max McNown, Jackson Dean, Ashley Cooke and John Morgan along with several others will perform as well, poised to bring the roof down in Detroit. For many Detroit-area country fans, the Ten Man Jam isn’t just another concert, it’s a hallmark event that often showcases future stars before they break wide into the mainstream.

Tickets traditionally move quickly due to the show’s intimate nature and the reputation it’s built over the years. With Jon Pardi at the helm and a slate of rising talent rounding out the lineup, the 2026 Ten Man Jam is shaping up to be one of WYCD’s most memorable yet.

You are able to purchase tickets as they go on sale for the general public on Friday, December 5 at 10:00 AM EST.

Milwaukee Metal Fest is back in 2026 at the The Rave in Milwaukee and the fest has announced its 2nd headliner. After first announcing Acid Bath, the fest has now announced Killswitch Engage as another days headliner.

This comes along with the previously announced acts including the newly reformed Iron Reagan, Belushi Speed Ball, Master, Integrity, and Internal Bleeding.

Festival co-organizer Jamey Jasta comments, “Having just toured the UK with Killswitch Engage and having known them for 30+ years it’s awesome to see them at the height of their powers headlining Wembley arena and now Milwaukee Metal Fest as well! This will be the best weekend ever” 

The festival will now take place June 5 – 7, 2026, with the pre-party kicking off on June 4! The festival will take place once again at The Rave/Eagles Ballroom. Early bird tickets can be found HERE.

When We Were Young Festival 2025 Las Vegas, NV – October 18, 2025
By, Caitlin Schmidt

The fourth edition of When We Were Young felt like something out of a dream — one that I was lucky enough to live and even luckier to cover. As an avid attendee, finally being on the press side of this festival was surreal. Normally when I cover a single show, I take detailed notes — setlists, ambiance, stage banter, the overall essence of each performance. This time, though, I didn’t have quite that luxury. I was too busy racing from stage to stage across the massive festival grounds, trying to catch as many artists as my little legs would allow.

So what you’ll read here isn’t built from pages of notes, but from pure memory — the emotions, the adrenaline, and the fragments of each set that embedded themselves in my heart. I was lucky enough to catch a few full performances early in the day, but as the hours wore on, time became tight. I found myself sprinting between stages, sometimes barely making it before the first song. What follows is a collection of those moments that stood out the most — the ones that will stay with me forever.

The Red Jumpsuit Apparatus

The first act of my day was The Red Jumpsuit Apparatus — a band I’ve covered once before, at a much smaller fest (California Is For Lovers). They were a treat then, and they still are now. Since I last saw them, they’ve welcomed K Enagonio as co-vocalist alongside Ronnie Winter. K, who also fronts Chasing Satellites, brings a heavier sound and dynamic that blends perfectly with RJA’s energy — and judging by the crowd’s reaction, I’m not the only one who’s here for it.

They kicked off their set with a backing track of Rage Against The Machine’s “Bulls on Parade,” waving a red-and-white striped flag across the stage. K spray-painted “No Kings” onto it — a nod to the 2,500+ No Kings protests taking place that day, Vegas included. The gesture was powerful, true to RJA’s outspoken nature when it comes to politics and human rights. They’ve never shied away from using their platform to speak truth to power, and they did so again here.

Still, the moment that struck me most came when K addressed the crowd and said, “You can do anything you want.” They shared that they used to be a photographer down in the pit — and now, here they were, co-fronting The Red Jumpsuit Apparatus. It was raw, honest, and deeply motivating.

Their setlist included “Slipping Through (No Kings),” “Is This The Real World?,” “False Pretense,” “Brace Yourself, In Fate’s Hands,” “Your Guardian Angel,” “Face Down,” and more. It was the perfect start to an unforgettable marathon.

The Rocket Summer

Each year I make a point to catch one artist who’s completely new to me, and this year, that was The Rocket Summer. Somehow, despite being a staple of the scene with eight studio albums, I’d never crossed paths with Bryce Avary’s work before — and now I feel like I’ve been missing out for years.

A fellow photographer hyped up his set, and I’m so glad I stayed. The Rocket Summer is Bryce’s solo project, but you’d never guess it by the energy onstage. He seamlessly jumped between vocals, guitar, keyboard, and drums, looping each instrument to build full songs live, entirely on his own. It was one of the coolest displays of musicianship I’ve seen in a long time — upbeat, infectious, and overflowing with love. I walked in curious and walked out a fan.

Boys Like Girls

I was particularly excited for this one, especially after missing their show at my local county fair last year. Boys Like Girls are a pure vibe — from their music to their energy to their effortless style. Even with their 2011 hiatus, they’ve stood the test of time, and this set proved exactly why.

They opened with “Love Drunk,” which immediately had the entire crowd — and even the photo pit — singing and dancing along. Their set included “Five Minutes to Midnight,” “BLOOD AND SUGAR,” “LANGUAGE,” “Thunder,” “She’s Got a Boyfriend Now,” “Two Is Better Than One,” and the perfect closer,” The Great Escape.”

Before that final song, they did something special: they told the crowd they’d play through the first chorus so everyone could record it, then start over and play it again — phones down this time, like it was 2006 all over again. From what I could see, everyone actually followed suit. They closed with a “Love Drunk/The Great Escape” mashup that sent everyone over the edge. People were singing and dancing far beyond the crowd limits. It was magic.

Yellowcard

As I waited in the pit, a few photographers told me Yellowcard’s setup was going to be incredible — and they were right. From the moment they launched into “Only One,” I was transported straight back to my teen years. Their set included “Lights and Sounds,” “Bedroom Posters,” “Way Away,” (my favorite) and, naturally, “Ocean Avenue” to close.

Their production featured the first pyro of the day that I’d seen. Having just released their newest album, Better Days, earlier this month, they were clearly energized by the momentum of their current tour.

But what always stands out for me is Sean Mackin on violin — the way his passion bursts through each note, his grin stretching from ear to ear as he races across the stage. That energy is infectious. I wish I could’ve stayed in the pit the whole set; every second was nostalgic and alive.

Simple Plan

Oh my gosh — Simple Plan. No one throws a live pop-punk party like they do. The moment they took the stage, the fun level went through the roof. Backed by the Star Wars theme, the screen lit up with:

“A long time ago, in a galaxy far, far away…called Canada, there emerged a band of pop-punk rebels named Simple Plan. Fueled by friendship and an unshakable belief that growing up is overrated, they fought countless battles aboard their intergalactic tour bus. After more than two decades and a few questionable haircuts, the mission’s still the same: Simple Plan is determined to conquer sadness and bring you hope that everything is going to be OK….”

The intro set the tone perfectly — playful and completely lovable. They kicked off with “I’d Do Anything,” immediately showering the crowd in confetti so thick I could barely see through my lens. Only Simple Plan would start their set with confetti.

They followed up with “Shut Up” and “Addicted,” packed with Pierre Bouvier’s signature jumps and spins. Unfortunately, I had to duck out mid-set to hit the media tent, but as I jogged away, I caught a glimpse of Scooby Doo’s on stage for “What’s New Scooby-Doo?” and nearly turned back. Their sets are pure joy in every conceivable way.

Knocked Loose

A fellow photographer and I sprinted across the grounds for this one — and it was absolutely worth it. This was my first Knocked Loose set, and I’d been looking forward to it since the lineup dropped. Simply put: they go HARD.

They hit the stage surrounded by green smoke and backlit by their illuminated cross logo, tearing immediately into “Blinding Faith,” “Don’t Reach for Me,” and “Mistakes Like Fractures.” The pit was nonstop chaos in the best way — walls of death, constant crowd surfers, pyro bursts — pure adrenaline.

Even though I couldn’t stay for their full set (I still mourn missing “Counting Worms” — who doesn’t love a good “arf arf”?), what I did catch was so powerful it felt like I saw an entire show.

Story of the Year

I barely made it to this one — sprinting through thick crowds, both cameras in hand. An old friend later told me she tried to wave me down, but I was too laser-focused on my mission to notice.

The set started with “And The Hero Will Drown,” and just moments in, the sound cut out completely. But instead of stopping, they doubled down — playing harder, faster, louder, with the crowd screaming every lyric to fill the void. It was one of the most impressive recoveries I’ve ever seen, and in that moment, it was like everyone in the audience became part of the band.

When the sound came roaring back, the energy didn’t just pick up where it left off — it exploded. You could feel the collective heartbeat of everyone there as they launched into “War” and “Tear Me To Pieces.” The connection between band and audience was electric.

Then came “Anthem of Our Dying Day,” and as I walked out, I could hear the crowd singing along, every word carried across the area. Seeing people so into it — smiling, shouting, and fully in the moment — gave me goosebumps.

Story of the Year proved exactly why they’ve endured. With their upcoming tour alongside Senses Fail (another favorite of mine), I already know I’ll be there — be it covering or hitting that mosh pit, or maybe both!

The Used

No surprise here — I ran. Again. The Used is unmissable. I’ve seen them six times this year, covered them five, and four of those were just this month. Every show feels brand new.

I was curious how they’d approach this set since it wasn’t part of their album playthrough tour. My hunch was right — the stage was decorated to honor all three albums from that run: The Used, In Love and Death, and Lies for the Liars. And the setlist matched.

They opened with “Pretty Handsome Awkward,” followed by “Take It Away,” and “The Bird and the Worm” — three of my personal favorites. Every photographer in the pit was singing along, myself included.

Bert beamed the entire time per usual, Joey shredded endlessly, Jepha vibed with his bass in his own euphoric world, and Dan hit the drums like they owed him money. The pyro, the chaos, the joy — it was everything The Used does best.

As soon as the third song ended, I sprinted toward Chiodos, but could still hear “Listening” and” I Caught Fire” echoing across the grounds. What a finale to what I now call “My Year of The Used.” I’ll say it again, as I always do: The Used truly is “the best band in the world.”

Chiodos

Chiodos has always been a band I appreciated from a distance — until now. With Craig Owens’ long-awaited return, there was no way I was missing this set.

They opened with “All Nereids Beware,” followed by “There’s No Penguins In Alaska,” and “The Undertaker’s Thirst For Revenge Is Unquenchable (The Final Battle)” — just your typical long winded Mid-Western emo song titles. Craig’s voice was immaculate. Effortlessly hitting every high note, and the crowd was just as intense. Sergio Medina of Dance Gavin Dance filled in on guitar which was a treat, as he absolutely rips.

The lighting, now under full nightfall, was striking — bright, moody, and dramatic. I wish I could’ve stayed for “Baby, You Wouldn’t Last a Minute on the Creek,” but time was my enemy. Even in brief, their set left me wanting so much more.

Ice Nine Kills

This was my set. The set of all sets.. The one I refused to miss no matter what conflicted. Unfortunately, that meant sacrificing part of Avril’s set — but it was worth it.

I’d covered Ice Nine Kills once before in 2024, and while that show was amazing, I didn’t quite hit the mark photographically speaking. This time, I was ready for redemption. And when it comes to theatricality, no one — and I mean no one — does it like INK.

Their show began with flickering TVs looping early-2000s commercials, flipping to a news broadcast covering “the trial of Spencer Charnas,” then cutting to static as thunder rumbled. The Cryptkeeper’s voice rang out, introducing the chaos to come.

They exploded into “Meat & Greet” (inspired by Silence of the Lambs), complete with Hannibal Lecter imagery, fake blood, and cannibalistic throat-ripping theatrics. Then came “Ex-Mortis” (Evil Dead), featuring Spencer reading from the Necronomicon, summoning a corpse who danced across the stage. The horn section, courtesy of Matt and Johnny from Real Big Fish, always adds the perfect layer.

Finally, “Wurst Vacation” (Hostel) brought out the German surgeon, an axe, a chainsaw, and sparks literally raining down. It was sensory overload in the best possible way.

The entire band — Spencer, Ricky, Joe, Miles, and Adam — were tighter than ever. Every note, every motion, perfectly in sync. Leaving after three songs felt like tearing myself away from a movie before the ending, but the experience was unforgettable. If you haven’t seen Ice Nine Kills live, fix that. It’s a religious experience.

Lastly, as my photos show, I am fully redeemed.

Avril Lavigne

After full on running as fast as I possibly could given the density of the crowd from INK’s set, I made it just in time for a moment I’ll never forget: Avril brought out Simple Plan to perform “Young & Dumb” together. Watching Pierre and Avril harmonize, laugh, and hug at the end was pure serotonin. The chemistry between them — two Canadian icons — was radiant.

After that, Avril delivered “Bite Me” and “Sk8er Boi,” closing out her set with every ounce of early-2000s nostalgia imaginable. Even from a distance, it was magic.

Weezer

Thankfully, Weezer followed Avril on the adjacent stage — no running required this time. They jumped right into “My Name Is Jonas” (my favorite), followed by “Hashpipe,” and “Surf Wax America.”

The visuals were mesmerizing — intergalactic space tunnels, mountain ranges, and the glowing blue “W” behind them. Fans sang along to every word, and the energy carried across the crowd. Seeing how the audience responded, with everyone from longtime fans to first-timers singing in unison, reminded me why Weezer has endured for decades. Their lighthearted, playful energy gave everyone a chance to breathe and enjoy the festival in pure fun. I left the pit smiling, thinking how timeless these moments felt.

blink-182

This one stings big time — I didn’t get shots worthy of depicting this band. I ended up in a tough position, shooting completely blind behind a stack of photographers (note that I’m 5’2”), with the heaviest lens I have held in my life, and nothing came out how I envisioned. But it would be a crime not to at very least make mention.

American announcer, Bruce Buffer, introduced them on screen like fighters entering the ring, announcing each member before the lights cut to Tom, Mark, and Travis blasting into “The Rock Show.” They followed with “First Date,” a primarily Tom heavy song, and one of my favorites. Before moving on to “Josie,” Mark took a brief, humorous moment to say “What’s up Las Vegas? Hi! We’re blink-182, here’s a song,” followed by Tom “it’s a f*cking great song!”

Their 22-song set spanned every era and truly brought the crowd back to life after a LONG day in the sun. After the first three, I decided it was time to take my first and only break of the day (mind you it was about 8:45pm). So I sat back and listened from a distance. Even though I couldn’t see much from where I was, the energy was undeniable. Fans sang along to every word, danced, and laughed through the set — the kind of shared joy that only blink-182 can create. Even in my brief time with them, it was clear why they’ve remained so important to the scene and the fans.

Panic! At The Disco

The time had finally come, and the energy was unlike anything I’d ever experienced. Every single photographer I’d seen scattered across the festival was there, ready as ever. Tired, sunburned, sore — but ecstatic for what was to come. I personally never, ever thought I’d have the chance to see Panic! in any form or facet.

The countdown began: 5, 4, 3, 2, 1… and there he was. Brendon Urie. The crowd lost their mind as they opened with “The Only Difference Between Martyrdom and Suicide is Press Coverage.” I quite literally felt my heart speed up, and full fledged butterflies in my stomach. Totally unreal.

Brendon’s excitement was unmatched — smiles for miles, jumping, running across the stage, completely alive in every moment. I don’t think I’ve ever seen anyone enjoy performing as fully as he did that night. He sounded incredible, flawless as always, and the band was equally phenomenal: Mike Naran on guitar, Nicole Row on bass, Dan Pawlovich on drums, with a full horn and string section filling every note with precision.

At one momentous point, original drummer Spencer Smith joined the stage for the first time in twelve years to perform “I Write Sins Not Tragedies.” Die-hard Panic! fans erupted, and it felt like the entire audience was holding its breath, savoring every second. Fans were dressed to the nines in outfits inspired by their first studio album, A Fever You Can’t Sweat Out, which the band performed in its entirety — a beautiful sight I wish I could have captured more thoroughly.

When the first three songs came to a close, I had to make the tough decision to leave. Blisters on my feet, exhaustion — but completely full. Even as I walked toward my car, I could still hear the music echoing. I stopped for a moment along the way, watching fans with fold-out chairs out enjoy the show from outside the grounds. The megatron glowed in the distance, fireworks lit the sky, and Panic!’s music carried for blocks, a perfect testament to their importance to fans old and new alike. I’d be lying if I said I didn’t have that album on repeat for at least half of my drive back to California the following day.

This was, without question, one of the greatest experiences of my life. More than once, I caught myself in disbelief — smiling so hard my cheeks hurt, tears welling up from sheer gratitude. Covering When We Were Young was a once-in-a-lifetime experience… one I hope to repeat again and again.

Being an attendee and covering as press are two entirely different worlds — both surreal, but one far more demanding. And yet, I’d do it again in a heartbeat. These artists, these fans, this shared love for music — it’s everything.

If you haven’t experienced When We Were Young, 2026 is your year. Don’t miss the feeling that still brings me to tears as I write this. And if you have — I’ll see you next year.

We’d like to thank everyone involved in making this festival possible — from vendors and security to techs, crew, and of course, the artists who make truly it all that it is. A massive thank you to C3 Presents for having us and giving us the opportunity to be part of something this special. This is a day I’ll never forget — and I’m endlessly grateful.

Yellowcard Photo Gallery

Weezer Photo Gallery

The Used Photo Gallery

The Rocket Summer Photo Gallery

Simple Plan Photo Gallery

Knocked Loose Photo Gallery

Ice Nine Kills Photo Gallery

Chiodos Photo Gallery

Boys Like Girls Photo Gallery

Story Of The Year Photo Gallery

Panic! At The Disco Photo Gallery

Avril Lavigne Photo Gallery

The Red Jumpsuit Apparatus Photo Gallery

By Britne Goldstein

ACL 2025 Weekend 2

October 10-12, 2025 | Zilker Park, Austin, TX

Another year, another ACL weekend that turned Zilker Park into a dusty playground of sound, sweat, and pure Austin energy. The sun was brutal and the dust was flying, but that didn’t stop tens of thousands of music fans from dancing, screaming, and losing their voices to some of the biggest names on the planet. Nine stages meant endless options. Sabrina Carpenter served pure pop star power, Hozier brought the church of soul, The Killers delivered hit after hit, Luke Combs had every cowboy boot stomping, and T-Pain brought us to the club.

Between sets, the festival felt like a choose-your-own-adventure for the overstimulated. The Amex Experience kept fans chill (literally) with photo ops and games, while the Aperol Spritz Piazza offered an Italian oasis of orange-hued cocktails and cute selfies. Tito’s Chillmaster5000 was the real hero, a giant walk-in fridge that turned strangers into best friends. And if you found the BeatBox So Far Out House, congratulations, you stumbled into the secret party and were treated to a heat-pressed fanny pack that somehow became the weekend’s hottest accessory.

And it wasn’t just about keeping cool. The ACL Eats lineup was a culinary tour of Austin’s greatest hits. Veracruz tacos? Legendary. Mighty Cone? Still undefeated. Gati ice cream? The only thing that could make the heat bearable. The Coca-Cola Refresh Lounge offered shade, sips, and selfies, while Topo Chico Hard Cantina and Hacienda Patrón had adults vibing like it was spring break. If you needed a break from the chaos, Miller Lite Bar 75 served WiFi, cold beer, and DJ Jampagne’s smooth jams.

Families weren’t left out either. Austin Kiddie Limits, presented by Lifeway Kefir, kept the little ones painting, dancing, and snacking happily in their own creative corner. The H-E-B Shop & Recycle zone let tiny Austinites live out their grocery store fantasies while learning about sustainability, which is adorable and honestly, very on-brand for this city. Siete Family Foods stole hearts with their daily “Baila Con Siete” dance parties, turning the kid zone into the cutest dance floor in Texas.

In an Artist interview with festival newbie, Ally Salort, who is a rising star on social media, she says she enjoyed Sabrina Carpenter’s set and could imagine herself on a headlining stage as well in a few years. When asked about the difference between singing to a festival crowd vs alone in her room, “it’s weird singing your most vulnerable thoughts with people staring at you, especially in a festival setting, like it’s midday and I’m singing about heartbreak.”

Even with the heat and dust turning everyone a few shades tanner (or dirtier), ACL’s sustainability efforts this year were no joke. ACL’s partnership with the Austin Parks Foundation continues to do real good, from recycling and composting to running the festival on renewable energy and biodiesel. The hydration stations saved millions of plastic bottles from landfills, and

the Rock & Recycle program turned trash collection into a fashion statement with free tees and bandanas. Over $71 million has now gone toward Austin’s parks since ACL first took over Zilker two decades ago, proving that the good vibes echo far beyond the stages.

Austin City Limits once again delivered the perfect mix of chaos, community, and world-class music — and if you survived all three days, congratulations. You’ve earned your honorary Austin badge (and probably a very long nap).

By Sunday night, as the sun dipped low and The Killers fired up “Mr. Brightside,” Zilker Park felt like the center of the universe. Everyone was filthy, sunburned, deliriously happy, and somehow still singing. That’s the magic of ACL. If you survived all three days, congratulations. You’ve earned your honorary Austin badge (and probably a very long nap).

by Dave Parsons

The salty Atlantic breeze carried more than just the scent of sea foam and boardwalk fries on Friday night, September 26, 2025, as the Oceans Calling Festival kicked off its third annual celebration of rock, pop, and alternative music against the backdrop of Ocean City, Maryland’s coastline.

Ocean City, Maryland, has hosted families for a century, and with the birth of the Oceans Calling Festival, the town extended its tourist season. Born from the vision of Maryland’s own O.A.R. and boosted by the muscle of C3 Presents, Oceans Calling has grown into one of the East Coast’s defining festivals.

What makes Oceans Calling unique is not just its lineup but its origin story. O.A.R. had long harbored the idea of staging a festival in their home state, one that would fuse music with the area they grew up around. In 2022, the dream nearly died before it began, as the first year was wiped out by a hurricane. That false start could have sunk a lesser project, but in 2023, the festival returned. Those early years taught both organizers and fans the lesson that nature will always have the last word on the shoreline, but community can match it note for note.

By 2024, the event grew as did the town itself, learning to handle the influx of tens of thousands of visitors, rerouting traffic, bolstering police, and welcoming the economic lifeblood that a late-September festival can bring to a beach community.  Now in 2025, the festival is no longer an experiment, but an institution in the making. There’s a special kind of magic to a beach festival. It creates an atmosphere that you cannot replicate at fairground venues.

There’s something magical about watching legendary performers, with the ocean to one side and the Boardwalk’s vintage charm on the other. The sound quality is surprisingly great for a beach venue, with changing ocean breezes constantly changing. Friday’s lineup read like a greatest hits compilation of four decades of popular music, all meshing together, allowing artists who might never share a stage elsewhere to come together for an unforgettable weekend.

Izzy Escobar opened the main stage on Friday afternoon, to a surprisingly good number of folk for that early in the day. She blended several different styles together, to a nice reception from the crowd, many of whom were hearing her music for the first time.  They seemed genuinely engaged by her songs, and it set the tone for the rest of the day to follow. 

BEL was the second act of the day, and the young artist’s approach to live performance was both laid back and professional from the get-go.  These early time slots are tough on a young artist wanting to rock a beachfront crowd, but the reality of a 1:00 Friday afternoon time slot is to do more lyrical and dynamic offerings to a crowd who is listening while sunscreen is still being rubbed onto shoulders, and iced coffees abound instead of beers.  BEL planted roots with some folks who were now proclaiming a new discovery, and by the end of their set BEL left with more than polite applause.

Next up on the other end of the venue, Letters to Cleo took the stage and instantly transported the crowd back to the 1990s. Kay Hanley’s voice is still capable of the sweet-and-sour combination that made Letters to Cleo successful in the mid-1990s, cutting through the afternoon air with surprising power. Letters to Cleo has always been a band that crowds loved, and the band’s performance here, after years apart, suggests that their best days may not be behind them after all.

One of Oceans Calling’s most distinctive features is its celebrity chef cooking demonstrations. Chef Antonia Lofaso was Friday’s guest. Held as the first act of the day on the alternate Carousel Stage, these demonstrations add an intimate atmosphere where celebrity chefs could interact directly with the audience as they banter back and forth with the host and other invited guests.  Quite often, members of bands performing later in the day show up to the demonstration.

This scheduling of cooking demos during the early afternoon hours provides festivalgoers with programming during the long afternoon hours, between opening acts and prime-time headliners, and directs the focus on local seafood and regional ingredients, which reinforces the festival’s identity. It is a great sight to see hundreds of music fans gathered around a cooking stage, with the afternoon sun overhead, and having the same enthusiasm they bring to the shows.

The arrival of the Spin Doctors next turned up the heat of the afternoon schedule, still able to hold a crowd in their palm decades down the road.  They played what people wanted to hear, and the sand turned into a dance floor.  Their set helped folks forget their troubles and move their bodies, and be happy they were here to witness a seasoned band in this setting.

The beach setting also provided a great backdrop for Fountains of Wayne’s set next, and the inevitable wait to hear Stacy’s Mom, still an iconic hit decades after its release.  The band’s sudden reemergence into the concert mix was a welcome addition to this crowd, even if Stacey would be in her 40s now and, of course, her mom in her 60’s.  Some songs are timeless and make you travel back to a place and time you like to visit from time to time.

A directly opposite approach came about 200 yards down the beach as +LIVE+ stormed the stage, played like men possessed. They stretched songs into hypnotic jams that showcased how much they like to play together, and like only great rock bands can do.  Live has always been a band that thrives on the connection with the audience, and the relationship developed over their hour-long set. When their closing song became an impromptu sing-along, it seemed to include every person in earshot, as it could be heard on the other end of the beach.

That other end of the beach was about to present one of the day’s most unexpected but thoroughly delightful choices. Nelly brought his swagger and proved again that great hip-hop can thrive anywhere.  He rolled through hit after hit with the confidence of a man who knows his place, with a voice as smooth and commanding as when he first came on the scene over two decades ago. The mix of the crowd’s ages during Nelly’s set told the story of Oceans Calling’s appeal.  There were twenty-somethings discovering these songs for the first time, partying alongside their parents who remembered buying his first CD.

The centerpiece of the evening belonged to O.A.R., the hometown heroes. This was their festival, their dream planted here. They didn’t perform like they were guests.  It was like these thousands of people were invited to their backyard, and every song was on repeat on their playlists year-round.

O.A.R. plays a set every day at the festival, with the initial set being just them.  They will invite members of other bands on that day’s lineup to join them for some covers, but this night belonged to them and their fans. O.A.R. has always been a band that understands the communal aspect of live music, and in the beach setting, their ability to make massive crowds feel like intimate gatherings reached its full potential.

The vibe of the music changed as The Black Crowes brought their blues-soaked Southern rock to the shore, and it made for a compelling musical set.  The beach suddenly felt like a Southern roadhouse. The Black Crowes have always been a band best experienced live, where their talents can fully unfold, and the setting seemed to give them even more room to stretch out and explore their jam side.

Green Day stormed the festival like a hurricane. The audience was primed by a day of first-class entertainment, brought to a climax as Billie Joe Armstrong opened with American Idiot, and they were off and running. Pyro added the punch to the songs the audience knew by heart, and the scene turned the sand into a punk-rock revival. By the end, the crowd wasn’t just applauding, they were roaring, affirming, baptized in sweat and salt.

The festival’s integration with Ocean City’s famous Boardwalk creates a seamless blend of music festival and beach vacation, with attendees able to move easily between the main festival site and the resort town’s restaurants, bars, and attractions, while providing one of the East Coast’s most distinctive festival experiences.

The combination of legendary performers, rising stars, and one incredible natural venue, people spilled onto the boardwalk with sand on their ankles and grins across their faces. Day One had not just been a success, but a foundation for the days to follow. Ocean City for this weekend was more than a beach town. It was the center of the rock universe, on the east coast, and there were two more days to go.

As with any sprawling festival, it is impossible to catch every moment through the lens. While I was able to witness and document the major arcs of Day One, not every band is featured in extended commentary here. Ballyhoo!, The 502s, The Fray, Lenny Kravitz, and CAKE performed overlapping sets that could not be fully covered, or they declined to be photographed.  Oceans Calling is a celebration to be seen in person, and even if they all don’t make it to this page, they matter to the whole experience.

Izzy Escobar Photo Album

BEL Photo Album

Letters to Cleo Photo Album

Spin Doctors Photo Album

Fountains of Wayne Photo Album

LIVE Photo Album

Nelly Photo Album

The Black Crowes Photo Album

Green Day Photo Album

Crowd Photo Album

Celebrity Chef’s Photo Album

The third day of Riot is always a different vibe. Tiredness from 2 days of fest so far for fans and even more for those partying all weekend or doing aftershows. After some iffy weather bits it was time to finish the day strong.

Bad Religion played giving fans the chance to see their 1988 classic ‘Suffer’ in full. Full of crowdsurfing and singalongs galore to hit after hit the band made it clear why they’ve been a mainstay in the scene for so long.

Sunday though was a punk heavy album play through. Zero Boys played ‘Vicious Circle’ in full, Pegboy did ‘Strong Reaction’, Smoking Popes did ‘Born To Quit’, and The Ataris did ‘So Long, Astoria’. Pop punk / alt act The Academy Is even headlined a side stage doing the scene classic ‘Almost Here’ in full.

One of the biggest crowds of the day though came with quite the delay. While the stage had issues all day, leading into Hanson the stage had delays which caused the brother pop group to go on 40 minutes late. They still played to a packed crowd and even brought out John Stamos for a song as well as Descendents guitarist Stephen Egerton for a Descendents cover.

Zero Boys Photo Gallery

Weakened Friends Photo Gallery

The Wonder Years Photo Gallery

The Ataris Photo Gallery