Claire Rosinkranz encapsulated what can only be described as “weird-cool girl pop” as she took the stage at The Crocodile on Monday night. Donning a boho Stevie Nicks style dress, she spun onstage, sometimes shamelessly clumsy, singing with a sarcastic yet heartfelt tone. Spoken interludes were delivered over the loudspeaker during transitions between parts of Rosinkranz’s set. She opened up about her struggles with chronic illness over the past few years. This allowed her to take breaks from the upbeat viral tracks, such as “Don’t Miss Me” and “Backyard Boy” and sit down to sing songs like “Funeral” with live guitar accompaniment. She led chants throughout the night and handed out photos. Her keyboard playing quieted the energy for a couple songs until the beat picked up in each one. A large line formed at the end of her act as she announced a meet and greet by her merch table.
Opener Stevie Bill had a similar sound but was a 180 from Rosinkranz in clothing style, wearing a baby tee with a corset layered on top. Originally from Amsterdam, Bill spoke in a charming accent and sang with a likewise voice. She sang mostly upbeat songs. The highlight of her set was a cover of the Prince song “Purple Rain”, which recently went viral following an inclusion in the latest season of the TV show Stranger Things. The audience erupted in cheers as she sang the first few lines. Bill wished the crowd a happy pride month. She too followed her set with a meet and greet.
I was lucky enough to get back in the saddle photographing Yellowcard and New Found Glory, this time during Yellowcard’s 2026 tour, which has been one of their most energized runs in years. The band is hitting the road with a renewed spark – bigger crowds, louder sing‑alongs, and that unmistakable surge of nostalgia that only Yellowcard can ignite.
From Ryan Key’s vocals cutting through the room to Sean Mackin’s violin lighting up the stage, the 2026 shows feel like a victory lap for a band that helped define a generation. Pair that with New Found Glory’s relentless energy, and it’s the kind of night that reminds you why photographing live music is pure magic.
Jessica Baio’s performance at Seattle’s Neumos on the second show of the US leg of The Other Side Tour united women of many ages. As a married woman with a heavy online presence and a youthful dance-pop sound verging on hyperpop, she appeals to a large crowd. She spun whimsically in a blue floral dress, flitting and frolicking across the stage as a videographer broadcasted her onto the backdrop screen in real-time. She led the crowd in singalong chants, even entering the audience and hugging attendees near the end of her set. The audience was elated by her engaging attitude as she took selfies with the crowd and relayed yells of “I love you” back at audience members. Opener Johnny Huynh joined her onstage to perform their duet “ALL I SAW WAS YOU”. Baio donned angel wings in the encore, an ode to the cover of her latest album, SACRED II. The crowd took their time to leave the venue after the show ended, still basking in the moment.
English alt-rock band, The Last Dinner Party, delivered a captivating live show filled with dramatic energy, powerful vocals, and sharp musicianship. It was their second of two shows at the Showbox SoDo while on the US leg of their worldwide headlining From the Pyre Tour. Their blend of theatrical glam rock and indie pop, along with impressive harmonies, created an immersive atmosphere, with the audience fully engaged from start to finish.
Yungblud and The Warning Deliver Explosive Night at Seattle’s WAMU Theater
SEATTLE (May 15, 2026) — British artist Yungblud returned to Seattle for a fully sold out stop of the “IDOLS” world tour at WAMU Theater, joined by tour support, Mexican rock trio The Warning. Outside the venue, Seattle’s SODO stadium district was already buzzing as fans navigated crowds from a Seattle Mariners game at T-Mobile Park and a Seattle Reign FC match at Lumen Field, both of which began roughly an hour before the concert. By the time doors opened, lines of fans stretched down the exterior of Lumen Field, with concertgoers holding handmade signs and dressed in black clothing, fishnets, boots and band merchandise while eagerly anticipating the night ahead.
Neither artist is unfamiliar with Seattle audiences. Yungblud first appeared in Seattle at the Crocodile venue in 2017, long before arena sized crowds became the norm for him. The Warning’s early Seattle appearance came in 2022 at Barboza on Capitol Hill. Fans fortunate enough to attend those intimate performances likely understood they were witnessing artists on the verge of outgrowing small clubs.
The crowd inside WAMU Theater reflected the broad reach both artists have built in recent years. Children attended with parents, teenagers packed the barrier and longtime rock fans filled the back of the floor. Many audience members shared that it was their first concert experience, adding another layer of excitement to the atmosphere.
The Warning took the stage roughly 15 minutes earlier than scheduled, opening their set with “S!CK.” The Monterrey, Mexico trio, made up of sisters Daniela, Paulina and Alejandra Villarreal, has steadily grown into one of modern rock’s fastest rising bands following tours with acts including Muse, Halestorm and Foo Fighters.
Early in the set, lighting issues left portions of the stage nearly dark, creating an unexpectedly stripped down visual presentation before the full production finally kicked in. The technical problems did little to slow the band’s momentum. Songs including “DISCIPLE,” “EVOLVE” and “Automatic Sun” showcased the band’s precision and intensity, while “Ego” gave Seattle fans an early performance of the track ahead of its May 18 release. Daniela Villarreal’s guitar work and commanding vocals paired with Paulina Villarreal’s powerful drumming and vocals, and Alejandra Villarreal’s steady bass lines kept the crowd fully engaged throughout the set.
By intermission, the energy near the barrier intensified. Security intervened multiple times to manage crowd issues near the front of the floor, delaying the start of Yungblud’s set to ensure audience safety. The pause only heightened anticipation inside the sold out venue.
The show opened with “Hello Heaven, Hello,” beginning with a video sequence flashing the word “hello” in multiple languages across the screen before Yungblud emerged from center stage. Born Dominic Harrison in Doncaster, England, the artist has become known for blending punk, alternative rock and pop influences while building a fiercely loyal global fanbase. His 2025 album “Idols” marked his fourth studio release and included songs such as “Hello Heaven, Hello,” “Lovesick Lullaby” and “Zombie.”
Dressed in tight leather pants, chunky black boots, a leopard print vest and sunglasses, Yungblud immediately transformed the venue into controlled chaos. Fog, flashing lights and towering video screens framed a nonstop performance style that saw him sprinting across the stage, jumping, climbing risers and constantly interacting with every section of the audience. Midway through the opening song, he removed his vest, revealing his signature shirtless look before grabbing a guitar and continuing the performance to roaring cheers.
The setlist balanced newer material from “Idols” with fan favorites including “The Funeral,” “Lowlife” and “Loner.” Pyrotechnic imagery in the backdrop and live camera feeds elevated the production throughout the night, but some of the most memorable moments came during direct fan interaction.
During “fleabag,” a song that regularly features audience participation, Yungblud invited a fan named Rodrigo onstage to play guitar alongside him. Rodrigo immediately embraced the moment, removing his shirt and performing beside Yungblud as the crowd erupted. The interaction became one of the defining moments of the evening and perfectly reflected the connection Yungblud consistently builds with fans during his performances.
At another point in the show, Yungblud lit a cigarette before stepping down from the stage to walk along the barrier, shaking hands, bumping fists and speaking directly with fans. Moments later, he climbed onto the barricade and launched himself into the crowd before eventually returning to the stage to continue the performance.
The pace slowed briefly during a cover of “Changes” by Black Sabbath. Yungblud dedicated the performance to Ozzy Osbourne and encouraged the audience to sing along, creating one of the night’s loudest collective moments.
Throughout the venue, fans remained fully locked into the performance, singing every lyric back to the stage. The atmosphere balanced chaos with inclusion, something Yungblud has built his career around through fan engagement, affordable ticket initiatives and the launch of his own U.K. festival, BludFest.
By the end of the encore performances of “Ghosts” and “Zombie,” it was clear Seattle’s connection with both artists continues to grow stronger with every visit. From intimate club performances years ago to commanding a sold out WAMU Theater, both Yungblud and The Warning delivered a night that fans in attendance are unlikely to forget anytime soon.
