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The Maine / Moody Joody
Taken by Mali Lares
The Maine closed out their ALL GREEN tour, “I Love You, But I Chose The Maine”, with the last stretch of shows in Texas, with Austin serving as their second-to-last stop. The band has been around since 2007, when they started uploading song covers onto MySpace (the first I heard being “I Wanna Love You” by Akon). Early on, they built a lot of their identity around “8123, ” a parking garage in Arizona where they used to hang out, meet fans, and just exist together, and over time, it has come to represent not just a place but a whole community and way of showing up for each other.
What makes this band special, if you aren’t already aware, is just how much they really love their fans and how much of themselves they will give to be able to connect with us. They once had a slogan that asked, “Why would you pay money to meet a human being?” and they have carried that sentiment long before and long after that moment. They will stay past curfews, trying to talk to everyone who waits after the show, handing out setlists, guitar picks, and drumsticks. I have seen them host public meetups, afterparties, you name it. And this
community means so much to them that they have created spaces for fans to connect with each other, too.
Every year that these guys have been around, I’ve thought to myself, “This is amazing, and I don’t think anything they do from this point could top it,” and then they prove me wrong every time, every era, every album. With this new album, Joy Next Door, that sentiment couldn’t be more apparent. This tour, much like most of theirs, pulled from across their entire discography, blending newer songs with older ones in a way that never felt disjointed. Their dramatic lighting fully leaned into the melodrama- hazy beams, sharp contrasts, and a dreamlike intensity. Truly amazing.
As I exited the photo pit after shooting, I struggled to find an elevated spot, knowing full well that singer John O’Callaghan loves to jump into the crowd for at least one song. I moved toward the commotion as best I could, with heads and phones blocking my view. Just as I was about to give up, a group of people noticed me struggling and helped lift me onto the shoulders of a kind stranger. I was able to get the shots right before John made his way back to the stage. And in that moment, it hit me, this is exactly what they stand for: love, kindness, and showing up for one another. It is far from my only example of that, but it's definitely one I won't be forgetting.
8123 FOREVER.
The Maine closed out their ALL GREEN tour, “I Love You, But I Chose The Maine”, with the last stretch of shows in Texas, with Austin serving as their second-to-last stop. The band has been around since 2007, when they started uploading song covers onto MySpace (the first I heard being “I Wanna Love You” by Akon). Early on, they built a lot of their identity around “8123, ” a parking garage in Arizona where they used to hang out, meet fans, and just exist together, and over time, it has come to represent not just a place but a whole community and way of showing up for each other.
What makes this band special, if you aren’t already aware, is just how much they really love their fans and how much of themselves they will give to be able to connect with us. They once had a slogan that asked, “Why would you pay money to meet a human being?” and they have carried that sentiment long before and long after that moment. They will stay past curfews, trying to talk to everyone who waits after the show, handing out setlists, guitar picks, and drumsticks. I have seen them host public meetups, afterparties, you name it. And this
community means so much to them that they have created spaces for fans to connect with each other, too.
Every year that these guys have been around, I’ve thought to myself, “This is amazing, and I don’t think anything they do from this point could top it,” and then they prove me wrong every time, every era, every album. With this new album, Joy Next Door, that sentiment couldn’t be more apparent. This tour, much like most of theirs, pulled from across their entire discography, blending newer songs with older ones in a way that never felt disjointed. Their dramatic lighting fully leaned into the melodrama- hazy beams, sharp contrasts, and a dreamlike intensity. Truly amazing.
As I exited the photo pit after shooting, I struggled to find an elevated spot, knowing full well that singer John O’Callaghan loves to jump into the crowd for at least one song. I moved toward the commotion as best I could, with heads and phones blocking my view. Just as I was about to give up, a group of people noticed me struggling and helped lift me onto the shoulders of a kind stranger. I was able to get the shots right before John made his way back to the stage. And in that moment, it hit me, this is exactly what they stand for: love, kindness, and showing up for one another. It is far from my only example of that, but it's definitely one I won't be forgetting.
8123 FOREVER.
Boys Like Girls
Taken and written by Mali Lares
As I slowly creep towards 30, with only four months of my twenties left, there are pieces of me, versions of me, that I sometimes forget still exist. This past year, I’ve attended my fair share of “nostalgia bait” concerts, but nothing, and I mean nothing, could have prepared me for the night I had at Boys Like Girls.
Talk about feeling cracky and poppy. I stood there, knees locking, feet popping, and with every song I felt more and more like myself. My true self, the one who first discovered why she liked music and what kind of music she liked. The band played their first two albums, self-titled and Love Drunk, back to back, front to back, for their 20th reunion show. My memory feels like an endless conveyor belt of information; once it retains something new, the old is basically nonexistent. So when I tell you my shock when I knew every song word for word, I mean it. I felt nine again. This show really had me feeling introspective, and I think that is why I will always support the bands from those years coming back, because it helps us feel again. Maybe old feelings we forgot we had, old memories, just a vibe we do not really feel anymore, while we get caught up in the mundanity of work and bills.
I would love to spotlight The Great Escape, which they played twice, and Hero/Heroine. San Antonio brought so much love and energy that it almost completed the experience. Getting to scream those words at the top of your lungs with other people who maybe had the same childhood, experiences, perhaps the loneliness and yearning that comes with the preteen experience. It was so evident that this feeling crept its way back into all of us, and the energy filled the room and had everyone possessed by it, in the best way. Boys Like Girls exceeded any expectations I had, and I hope they come back because I will be there front and center.
As I slowly creep towards 30, with only four months of my twenties left, there are pieces of me, versions of me, that I sometimes forget still exist. This past year, I’ve attended my fair share of “nostalgia bait” concerts, but nothing, and I mean nothing, could have prepared me for the night I had at Boys Like Girls.
Talk about feeling cracky and poppy. I stood there, knees locking, feet popping, and with every song I felt more and more like myself. My true self, the one who first discovered why she liked music and what kind of music she liked. The band played their first two albums, self-titled and Love Drunk, back to back, front to back, for their 20th reunion show. My memory feels like an endless conveyor belt of information; once it retains something new, the old is basically nonexistent. So when I tell you my shock when I knew every song word for word, I mean it. I felt nine again. This show really had me feeling introspective, and I think that is why I will always support the bands from those years coming back, because it helps us feel again. Maybe old feelings we forgot we had, old memories, just a vibe we do not really feel anymore, while we get caught up in the mundanity of work and bills.
I would love to spotlight The Great Escape, which they played twice, and Hero/Heroine. San Antonio brought so much love and energy that it almost completed the experience. Getting to scream those words at the top of your lungs with other people who maybe had the same childhood, experiences, perhaps the loneliness and yearning that comes with the preteen experience. It was so evident that this feeling crept its way back into all of us, and the energy filled the room and had everyone possessed by it, in the best way. Boys Like Girls exceeded any expectations I had, and I hope they come back because I will be there front and center.
The Growlers
Taken by Mali Lares
The Growlers at Emo’s felt like stepping into a hazy, late-night space that hovered somewhere between nostalgia and unpredictability. The lighting leaned dark and moody, adding a subdued atmosphere, but it never overshadowed what was happening onstage.
What made the set stand out was the contrast between that dim, almost dreamlike setting and the band’s energy. Their sound carried a raw, garage-rock edge, but it was balanced by a steady sense of rhythm that kept everything grounded. Brooks Nielsen anchored the performance with vocals that were raspy and expressive, landing somewhere between controlled and unfiltered in a way that gave the songs real character.
Formed in Huntington Beach in the mid-2000s, The Growlers built their reputation on a DIY approach and a sound they once described as “beach goth”. A mix of surf, garage rock, psychedelia, and offbeat pop that, over time, has shifted, incorporating more rhythm-driven, synth-influenced elements without losing the slightly rough, unpolished core that defines them.
Instrumentally, the band stayed locked in without feeling rigid. The guitars moved between bright, jangly tones and slightly warped textures, while the rhythm section anchored everything with an easy groove. Songs didn’t linger in one mood; they stretched and shifted, sometimes laid-back, other times more danceable. What kept it engaging was how natural it felt. Fluid without losing control, and always ready to turn in a new direction.
By the end, the show didn’t rely on big, dramatic peaks or over-the-top moments. Instead, it stayed consistent in its tone and delivery, pulling the audience in through its atmosphere and sound rather than spectacle. It felt immersive without being overwhelming. Just a band fully settled into their style, letting it unfold in its own way.
The Growlers at Emo’s felt like stepping into a hazy, late-night space that hovered somewhere between nostalgia and unpredictability. The lighting leaned dark and moody, adding a subdued atmosphere, but it never overshadowed what was happening onstage.
What made the set stand out was the contrast between that dim, almost dreamlike setting and the band’s energy. Their sound carried a raw, garage-rock edge, but it was balanced by a steady sense of rhythm that kept everything grounded. Brooks Nielsen anchored the performance with vocals that were raspy and expressive, landing somewhere between controlled and unfiltered in a way that gave the songs real character.
Formed in Huntington Beach in the mid-2000s, The Growlers built their reputation on a DIY approach and a sound they once described as “beach goth”. A mix of surf, garage rock, psychedelia, and offbeat pop that, over time, has shifted, incorporating more rhythm-driven, synth-influenced elements without losing the slightly rough, unpolished core that defines them.
Instrumentally, the band stayed locked in without feeling rigid. The guitars moved between bright, jangly tones and slightly warped textures, while the rhythm section anchored everything with an easy groove. Songs didn’t linger in one mood; they stretched and shifted, sometimes laid-back, other times more danceable. What kept it engaging was how natural it felt. Fluid without losing control, and always ready to turn in a new direction.
By the end, the show didn’t rely on big, dramatic peaks or over-the-top moments. Instead, it stayed consistent in its tone and delivery, pulling the audience in through its atmosphere and sound rather than spectacle. It felt immersive without being overwhelming. Just a band fully settled into their style, letting it unfold in its own way.
Brenn!
Taken by Alyssa Lane
Tomora
Taken by Haley Ngow
SatchVai
Taken by Jill Rubino
311 Day 2026
Taken by Saralyn Bliss
Wallice
Taken by Haley Ngow
Nep
Taken by Haley Ngow
GWAR / King Parrot
Taken by Blake Noelle
Jefferson Starship
Taken by Jill Rubino
Biiiuh
Taken by Anjeanette Ridner Hoer
Eli
Taken by Maddie Ciliento
Rainbow Kitten Surprise
Taken by Sarah Bruno
((( O )))
Taken by Haley Ngow
Spill Tab
Taken by Haley Ngow
Ruel
Taken by Maddie Ciliento
Lauren Spencer Smith
Taken by Maddie Ciliento
Sudan Archives
Taken by Haley Ngow
The Driver Era
Taken by Maddie Ciliento
Joe Jordan
Taken by Abby Biberstein
Melt
Taken by Maddie Ciliento (@maddiecilsnaps)
Big Time Rush
Photos taken by Maddie Ciliento (@maddiecilsnaps)
SkyDxddy
Photos taken by EJ Meredith
Dark Angel
Photos taken by Jill Rubino
Void / Sacred Reich / Hirax
Photos taken by Jill Rubino
Avara
Photos taken by Haley Ngow
Mind's Eye
Photos taken by Haley Ngow
Tate McRae
Photos taken by Maddie Ciliento
.38 Special
Photos taken by Jill Rubino
Stacy Ryan
Photos Taken by Haley Ngow
Tom Keifer Band
Photos taken by Jill Rubino
Zinadelphia
Taken by Maddie Ciliento
The 502s
Taken by EJ Meredith
Lady Wray
Taken by Rachel Schwartz
Colony House
Taken by EJ Meredith
Marielle Kraft
Taken by Haley Ngow
David Archuleta
Taken by Maddie Ciliento
Current Joys
Taken by Haley Ngow
Earth, Wind, & Fire
Taken by Jill Rubino
Jeremy Zucker
Taken by Haley Ngow
Molly Grace
Taken by Maddie Ciliento
King Princess
Taken by Maddie Ciliento
BORNS
Taken by Mali Lares
Pink Pantheress
Taken by Haley Ngow
The Band Camino
Taken by Maddie Ciliento
Almost Monday
Taken by Maddie Ciliento
Amelia Day
Taken by Haley Ngow
COUCH
Taken by Haley Ngow
Real Friends / The Driveways
Taken by Alyssa Lane
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