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.
A fan sings along as Joyce Manor performs before a vibrant crowd at The Showbox.
The Showbox was an absolute pressure cooker on Tuesday night, packing in a vibrant, high-energy crowd that perfectly encapsulated the modern alternative scene. Dominated by 20-and-30-somethings sporting an array of piercings and plenty of neo-grunge era clothing, the venue felt less like a standard Tuesday night gig and more like a generational summit for heavy riffs and raw emotion.
Diving straight into the chaos, Teen Mortgage set a wild, theatrical tone early on. The standout moment of their explosive set featured a band member fully dressed up as the Grim Reaper. Cranking out blistering garage-punk, the Reaper playfully flipped off the crowd before fearlessly throwing himself off the stage to crowd-surf over a sea of upraised hands.
The momentum only amplified when Militarie Gun took the stage. Delivering a remarkably high-energy performance, the band proved exactly why they are one of the most exciting names in post-hardcore right now. Their lead singer spent the entire set jumping around the stage, radiating infectious positivity and clearly having the absolute time of his life, which instantly whipped the floor into a frantic, smiling mosh pit.
By the time headliners Joyce Manor walked out, the room was primed for a collective explosion. What followed was a masterclass in pop-punk and emo efficiency. The crowd didn’t just watch the show; they were a part of it, passionately singing along to literally every single song on the setlist. From the opening chords of “I Know Where Mark Chen Lives” to the driving rhythm of “Beach Community” and the absolute catharsis of “Constant Headache,” the audience’s voices occasionally threatened to drown out the PA system itself.
Closing out the night with a blistering run through “Catalina Fight Song” and “Heart Tattoo,” Joyce Manor capped off a flawless evening of sweat, community, and pure, unadulterated punk rock. If you walked out of The Showbox with your voice intact and your shirt dry, you simply weren’t doing it right.
