Noah Cyrus, the young singer-songwriter and actress hailing from Nashville, Tennessee, performed at Seattle’s Showbox SoDo on September 19th. In a beautiful, tiered and flowing blue gown, Cyrus headlined the venue with a sylvan-themed stage, complete with mossy hillocks and vine-enrobed mic stand. Cyrus, who possesses a gorgeous voice, released her second album, I Want My Loved Ones to Go with Me, in July. The album, which she co-produced with Fleet Foxes’ Robin Pecknold & Mike Crossey (Arctic Monkeys, the 1975), and Dave Hamelin (from the Stills), features cool guest vocals by Blake Shelton (among others). She’ll complete this tour (named after the album) at the end of October, when she can maybe get some rest and process all the deserved success. While she’s focusing on music right now, catch her in the “Game On” episode of American Horror Stories. Why not? That’s a great combination and it’s almost Halloween.
On a sold-out Thursday night at Seattle’s Neptune Theater, Grandaddy celebrated the 25th anniversary of their classic album, The Sophtware Slump. It was a triumphant performance that felt all the more meaningful for those who had seen frontman Jason Lytle’s solo tours, where he’d often speak about missing the collaborative spirit of a full band. Tonight, that spirit was fully restored.
From the first notes of “He’s Simple, He’s Dumb, He’s the Pilot,” the band worked their way through the album track-by-track, showcasing a level of musicianship and chemistry that proved their reunion was worth the wait. Songs like “Jed the Humanoid” and “The Crystal Lake” resonated with a mix of shared nostalgia and timeless melancholy.
After a short break, the band returned for a set of fan favorites, delighting the crowd with a cross-section of their discography before closing the night with a joyous, kinetic encore that included the hit “A.M. 180.”
Twenty-five years later, the themes of technological burnout and quiet decay on The Sophtware Slump feel more relevant than ever. This was a perfect night of music, proving that Grandaddy’s “sophtware” is anything but obsolete.
I’m not a huge fan of ranking musical performances or other forms of art and entertainment. Identifying a show to be the best of the year or ‘in my top 5′ leaves me with the uncomfortable feeling that I’ve neglected other worthy artists and memorable performances. There are so many disparate genres and so many factors that impact how a gig comes across in the moment and the impressions it that remain after the performance has passed that it renders most comparisons or rankings irrelevant. That said, it would be ridiculous to deny that some sets hit especially hard, some performers are so undeniably accomplished and/or personally charismatic and so unique that you absolutely know that you’ll be revisiting their art in your memories for months and, perhaps, years to come. The Hives’ stop at the Showbox SoDo last night as part of their 2025 The Hives Forever, Forever The Hives Tour was one such performance.
The Hives are currently touring behind their most recent album, ‘The Hives Forever, Forever the Hives’, released in late August. The Swedish band is enjoying strong reviews for both their new release and their live performances. I will be the first to admit that I did not embrace the band enthusiastically when they began to draw attention in the US during the so called ‘garage rock revival’ of the early aughts. I (wrongly, it now seems) found the Hives, the Strokes, the Yeah Yeah Yeahs, and the White Stripes to be overly derivative of the bands that they so obviously mined for influences. I was also, at the time, rather put off by the onstage persona of their frontman, Howlin Pelle Almqvist. His swaggering braggadocio and constant trumpeting of his band’s virtues rubbed me the wrong way. 25 years later, I’m more than willing to take my lumps and admit that I was hasty in my judgement. Or, to paint a clearer picture, I was wrong.
The Hives circa 2025 have proven themselves to be one of rock’s most consistently entertaining and satisfying live acts. Pelle Almqvist is a tremendously entertaining and charming frontman, tucking into the band’s robust catalog with gusto and joy, stopping only to (good naturedly) hector his adoring audience into singing along and cheering madly in-between songs. The two plus decades that have passed since the band’s rise to prominence have done nothing to dim his physicality and endurance, as he leapt about the stage, scaled the lighting truss, and took frequent trips into the audience to press the flesh with his fans. Almqvist has lost none of his swagger or exaggerated confidence, but the years have added a twinge of obvious bemusement to his routine. The sheer effort and sweat that he puts into a show has erased any qualms that I used to harbor about his schtick. There were approximately 1,800 raging Hives fans at the Showbox Sodo Monday night and Howlin Pelle Almqvist may have been the most enthusiastic of them all.
I would be remiss to not mention the rest of the band, as they’re every bit as crucial to the Hives’ sound and live presentation as their remarkable frontman. Nicholas Arson (Pelle’s brother) and Vigilante Carlstroem both shown on guitars and the rhythm battery of Chris Dangerous and The Johan and Only were solidly in the pocket all evening. I adore the Hives’ take on pop/punk (or garage/pop or garage/punk or whatever ya wanna call it). They effortlessly manage to inject melody and tunefulness into a genre that can at times trend toward the one dimensional while somehow maintaining the aggression that’s a hallmark of the very best punk rock. It’s a neat trick and it makes for a very entertaining night out. We were singing ‘The Hives forever, forever the Hives’ as we headed out into the night after the final encore and I expect I’ll be humming the melody to that tune until the next time these rockin’ Swedes visit the Pacific Northwest.
The local Taylor Swift tribute band – 13 Til Midnight – headlined at Hidden Hall, a new venue in Seattle. Their authentic sound, harmonies, and choreography thrilled the audience as they danced and sang along on every song. The show included a wide range of songs – reminiscent of Swift’s international Eras Tour. The energetic, firstclass performance by Kellie Rose (vocals), Megan Moreau (vocals), Sedona Rose (vocals), Brian Lake (guitar), James Manigley (keys, guitar), Jeremy Stone (drums), and Charles Dean (bass) left the crowd wanting more. Seattle-based singer-songwriter Juliet Daniel opened and joined 13TM onstage for their last song.
Babymonster Wraps Up First North American Tour in Seattle
SEATTLE (September, 12, 2025) – Rising K-pop group Babymonster closed out their first North American tour Friday night at Climate Pledge Arena, delivering a polished, high-energy show that was equal parts celebration and farewell. For fans, known as Monstiez, it was a night of firsts: the group’s debut Seattle performance and the bittersweet finale of their inaugural North American tour.
Formed by YG Entertainment, Babymonster emerged from the 2022 filmed documentary “Last Evaluation,” which chronicled the intense process of member selection. Initial announcements in early 2023 confirmed Pharita, Ahyeon, Rami, Rora and Chiquita as the lineup, before Ruka and Asa joined in May to complete the seven-member group. The band officially debuted in November 2023 with “Batter Up,” which broke K-pop debut records, the music video garnering about 22.59 million views within 24 hours and earning the group international recognition.
Monstiez of all ages, from children to longtime K-pop devotees, turned out in force to witness the milestone finale. The nearly two-hour set featured multiple costume and backdrop changes, seamlessly blending Babymonster originals with solo stages and unexpected covers.
The setlist included group songs such as “Drip,” “Clik Clak,” “Like That,” “Sheesh,” “Woke Up in Tokyo,” “Dream,” “Billionaire,” “Hot Sauce” and “Stuck in the Middle,” alongside remixes of “Batter Up.” Fans cheered through heartfelt performances of ballads like “Love, Maybe” and “Forever,” while pop-infused tracks such as “Love in My Heart” and “Really Like You” showcased the group’s versatility. Solo and unit covers ranged from Lewis Capaldi’s “Someone You Loved” to Olivia Rodrigo’s “Traitor,” Charlie Puth’s “Dangerously,” and even Eminem’s rapid-fire “Godzilla.” One of the biggest highlights came when Babymonster paid homage to their labelmates with a mash-up of BLACKPINK’s “Kill This Love” and “As If It’s Your Last,” which sent the arena into a frenzy as fans sang and danced along.
Staging was ambitious, with members frequently walking the extended runway that stretched into the main floor to engage directly with fans. They waved, posed for selfies and filmed clips with a handheld camera, footage they teased might appear in behind-the-scenes content after the tour’s conclusion. Audience participation was encouraged throughout, with Monstiez singing along not only during songs but also during intermissions when members prompted them to keep the energy alive.
Visually, the production relied on dynamic digital backdrops and two massive video screens flanking the stage, ensuring every fan had a clear view. The choreography, a hallmark of YG’s performance style, was delivered with sharp precision yet still felt relaxed and natural. Between songs, the members introduced themselves, reflected on their journey and expressed gratitude, creating an intimate, inclusive atmosphere despite the arena setting.
Notably absent was Rami, who is on hiatus for health reasons. Her absence was acknowledged by fans, but the remaining six members carried the show with strong cohesion.
The night ended under a sky of brightly colored confetti and with hints about the group’s next chapter, leaving fans buzzing about what’s to come, perhaps new music, another tour or both.
For a debut North American tour, Babymonster’s Seattle finale proved the group has not only the stamina but also the artistry to establish themselves as one of K-pop’s next global powerhouses.
