By Kyle Muha

Big Gigantic made their return to Chicago’s Salt Shed on Saturday night, 11/15/25 — this time bringing a fresh new album with them. Fluorescence, the duo’s 9th studio release that dropped back in June, finally got its moment in Chicago as fans heard songs from the project live for the first time.

Longtime Big Gigantic listeners — especially fans of the early 2010s electro-funk wave — were treated to a classic Big G experience. The new Fluorescence material hit perfectly in the set, blending seamlessly with fan-favorite tracks from eras like Brighter Future and The Night Is Young. The blend of funky grooves, glitchy hip-hop energy, and the unmistakable live-instrument twist reminded everyone what made that era of electro-funk so special.

Dom (Dominic Lalli) delivered signature moments all night with his saxophone lines cutting through the mix at all the right times, adding warmth and character to the set’s bouncier sections. Meanwhile, Jeremy Salken held down the groove on drums, giving the show that extra live punch that separates Big Gigantic’s performances from a typical electronic set.

And it wasn’t just the music that hit: the production was dialed all the way in. Lights and lasers synced perfectly with the flow of the show, elevating the energy in all the right moments and rounding out the full Big Gigantic experience.

Fans still have a couple more chances to catch this run, with upcoming dates in Jacksonville on 11/21 and Washington D.C. on 11/22.

Big Gigantic Photo Gallery

By Kyle Muha

It had been six years since Of Monsters and Men last put out a full-length album of new music. Their latest release, All is Love and Pain in the Mouse Parade, dropped on October 17th and brings back the signature sound and energy that’s kept fans hooked since the band first formed 14 years ago.

On Thursday night, The Mouse Parade tour made its stop at Chicago’s beloved Salt Shed, and fans got exactly what they were hoping for. The band played nine out of the album’s thirteen tracks, giving the crowd a real taste of the new record live for the first time. They also mixed in favorites from across their discography, making sure longtime fans got plenty of nostalgic moments too.

One of the standout parts of the night came during a stripped-down acoustic version of “Mouse Parade,” with the band huddled around a single mic. It was one of those moments that just felt special — the kind fans will remember for a long time. Of Monsters and Men nailed the balance between fresh material and old favorites, making it clear why their music continues to stick with people after all these years.

Of Monsters And Men Photo Gallery

By Colette Custin

Icelandic folksters Of Monsters and Men sold out the Salt Shed on Thursday, just a few dates into their tour for new album All is Love and Pain in the Mouse Parade.  

Vocalist/guitarist Nanna Bryndís Himarsdóttir led her seven-piece band through hits like “Crystals” and the band’s signature track “Little Talks,” though the night’s energy was most squarely focused on the new record.

The breezy chorus of “Ordinary Creature” and the hushed, acoustic “Mouse Parade” (which saw the band huddled around a single microphone) offered a lovely contrast to the chugging rhythm of “Alligator” (the band’s single nod to 2019’s Fever Dreams) and the upbeat “Visitor” from the same era. 

While the new album is bit glossier and tonally introspective than previous works, Of Monsters and Men have continued to evolve their sound in subtle ways that have enriched their live shows, and Mouse Parade is no different in that regard. 

Of Monsters and Men – Salt Shed, Chicago, IL, November 6th (setlist)

Television Love

Dream Team

King and Lionheart

Tuna in a Can

Alligator

Human

The Actor

The Block

Mouse Parade

Dirty Paws

Empire

Crystals

Styrofoam Cathedral

Little Talks

Ordinary Creature

Visitor

Love Love Love

Fruit Bat

Of Monsters And Men Photo Gallery

By Josh Malone

Detroit, MI – November 1, 2025

Country-rock star Kip Moore delivered an unforgettable night, as The Solitary Tracks tour made a stop at Saint Andrew’s Hall on Saturday, performing to a sold-out crowd that packed the historic Detroit venue wall-to-wall. Known for his rugged authenticity and heartfelt storytelling, Moore proved once again why he’s one of the genre’s most compelling live performers. Leon Majcen provided opening support for the night.

From the moment he stepped on stage, the energy was electric. Moore opened with “High Hopes,” setting the tone for a night that blended gritty guitar riffs with introspective lyrics. Fans sang along word-for-word to hits like “Wild Ones,” “Beer Money,” and “The Crown,” turning the intimate hall into a singalong. Backed by his tight, road-tested band, Moore seamlessly moved between rock-driven anthems and stripped-down acoustic moments.

What stood out most was Moore’s connection with the crowd. Between songs, he cracked jokes about Detroit winters, reminisced about his early days on the road, and thanked fans for “keeping real music alive.” His blue-collar sincerity resonated deeply with the Motor City audience. Toward the end of the night, Moore played “Last Shot,” which drew loud cheers when the first chord hit. 

Kip Moore’s show at Saint Andrew’s Hall wasn’t just another tour stop; it was a reminder that authentic songwriting, grit, and heart still hold power in live music.

The Solitary Tracks tour continues November 6, in Columbia, Missouri, for one of 15 remaining shows for the Fall tour.

Leon Majcen Photo Gallery

Kip Moore Photo Gallery

My Life With the Thrill Kill Kult

Concord Music Hall – Chicago IL

October 31, 2025

By Roman Sobus

A Halloween performance by Industrial Rockers Thrill Kill Kult at Concord Music Hall in Chicago, IL.

Support from Die Sexual and Devora (opener)

Devora Photo Gallery

Die Sexual Photo Gallery

My Life With The Thrill Kill Kult Photo Gallery

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