Show Review and Photos: Yungblud and The Warning at WAMU Theater

Posted on 05/20/2026 by Diane Webb

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.

Yungblud Gallery

The Warning Gallery

Joyce Manor, Militarie Gun, and Teen Mortgage bring punk perfection to The Showbox

Posted on 05/18/2026 by Alex Crick

A high-energy view from the stage at The Showbox looking out at the crowd during a Joyce Manor set. — 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.

Alternative rockers Militarie Gun performing live at The Showbox in May 2026.

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.

Punk rockers Joyce Manor performing live at The Showbox in May 2026.

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.

The Afghan Whigs & Mercury Rev At The Showbox

Posted on 05/18/2026 by Mike Mitchell

The Afghan Whigs and Mercury Rev left no doubt that bands deep into their career can remain fresh, creative, and powerful rather than being merely content to rehash old glories while mining outdated work. Both bands effectively meshed the past with the current in front of a packed Showbox Sunday evening. I go back a good bit with both acts and was struck by their ability to integrate early material with current work while maintaining consistency throughout their sets.

I saw the Afghan Whigs a number of times back in the 90’s shortly after the band had signed to Subpop and relocated to the Pacific Northwest. They were frequent flyers at RCKCNDY and other now long-gone clubs in and around Seattle. The band both fit in nicely alongside and stood slightly apart from the then nascent grunge scene. No torn flannels and long johns for Greg Dulli, the lead singer and leader of the Afghan Whigs. Duli and his crew dressed a bit slicker than a lot of their peers (polo shirts and slacks? oh my!) and incorporated soul, R&B, and other black pop music idioms and influences into their driving guitar attack. The current tour marks the 40th year of the band’s existence (albeit with a lengthy hiatus in the early aughts). The Whigs have 10 albums under their belt and are on the cusp of delivering another. One would be hard pressed to find a more consistent catalog among recording acts of similar tenure.

The Whigs opened strong with ‘Parked Outside’ from 2014’s ‘Do the Beast’, countered with the harrowing ‘I’m Her Slave’ from ‘Congregation’ (1992), and drove it over the fence with ‘Light As a Feather’ from 2017’s excellent ‘In Spades’, all before Dulli paused to greet the audience. The band played a blistering 90 minute set drawing from all but their earliest album. While only Dulli and bass player John Curley remain from the band’s early days, the drum, lead guitar, and guitar/keyboard seats have all been filled with outstanding, complimentary players. Lead guitarist Christopher Thorn (Blind Melon) was of particular note.

Buffalo’s Mercury Rev have been active for 37 years and have 10 albums to their credit. 1998’s ‘Deserter’s Songs’ garnered the most critical praise and highest sales of the band’s career but one could reasonably argue that each successive album has exhibited additional proof of Mercury Rev’s continued growth and evolution. Their well-received set Sunday evening spanned the entirety of their career while feeling cut from a consistent sonic and thematic cloth. Mercury Rev lays on the reverb which, paired with their hushed and elliptical vocals, goes nicely with their trippy light and smoke effects. During some of the more extended instrumental sections I found myself being pleasantly reminded of mid period Pink Floyd. That’s a destination I’m always happy to visit.

While the Afghan Whigs and Mercury Rev are two entirely different beasts, I can’t help note that they seem to employ a similar approach to recording. Not content to revisit their past glories (although they certainly scratch that itch as well), both bands continue to create new music while evolving and refining their aesthetic. I would argue that this refusal to laurel rest allows each band to remain fresh and relevant. Whatever the reason for their continued excellence, I can’t argue with the results. 1,000 happy (and loud) fans at the Showbox last night seemed to agree with me.

Photos: Chet Faker w/Ideas By Ab @ the Showbox

Posted on 05/18/2026 by BBS

Chet Faker w/Ideas By Ab @ the Showbox – 5/7/26
Photos by Brandon Lopez

Australia’s Chet Faker was in Seattle on May 7th, shortly after he gave fans a new album called A Love For Strangers in February ’26. Faker, whose real name is Nicholas James Murphy, is midway-through his tour named after the album, and he also co-directed the video for the track, “1000 Ways.” Ideas By Ab, a Minnesotan producer, opened the evening.