Krooked Kings arrived in Columbus on Saturday night already settled into who they are — and the A&R Music Bar was the perfect room to prove it.
t Newport Music Hall on October 15, the trio Jukebox the Ghost delivered a performance that balanced precision with play, intellect with exuberance. “The Phantasmagorical Tour” lived up to its name not through gimmickry but through imagination: a vivid reminder that sincerity, musicianship, and humor can still coexist in modern pop.
Their set began with “Stranger,” a song that unfolded like an overture—Ben Thornewill’s piano both anchor and accelerant, his voice cutting clean through the hall’s antique reverb. “The Stars” and “Colorful” followed in quick succession, each melody crafted with the kind of care that makes their live show feel like architecture in motion. The sound was bright, but the delivery never tipped into gloss. Every note served intention over affectation.
The set’s early stretch—“Sea Change,” “Flash!,” “Emotional Fraud,” and “Everybody’s Lonely”—revealed the band’s core tension: songs that sparkle on the surface but carry an undercurrent of existential wit. Thornewill’s lyrics draw humor from self-awareness rather than irony, finding levity in honesty. “Everybody’s Lonely” in particular played like an anthem for the quietly overwhelmed, its chorus less a lament than an embrace.
Midway through, the trio staged their signature switch-up for “Hold It In ‘Supreme’.” With Thornewill on drums, Tommy Siegel on piano, and Jesse Kristin on guitar, the moment bordered on chaos—but a practiced, joyful chaos. It spoke to a deep creative trust: three musicians capable of dismantling their own order just to rebuild it in real time, only taking the art of entertaining seriously.
The show’s middle section—“Ramona,” “Girl,” “Jumpstarted,” “Fred Astaire,” and “Hollywood”—was pure kinetic release. Each song arrived with crisp momentum, the band treating melody not as a vehicle for nostalgia but as a live, restless thing. Their command of dynamics—pushing tension, pulling rhythm, then letting it all snap loose—kept the set breathing like a single extended movement.
Their cover of Chappell Roan’s “Pink Pony Club” was a standout, and not merely for novelty. They approached it with warmth and theatrical grace, reframing Roan’s modern glam into something that felt communal. It was less pastiche than translation—a meeting of sensibilities across genre and generation.
They closed the main set with “End of the Show,” a title that always feels a little tongue-in-cheek but lands here as genuine gratitude. The encore—“Olivia,” “Adulthood,” and “Victoria”—felt like an extended coda: wistful, effervescent, and fully earned.
There’s a kind of intelligence in Jukebox the Ghost’s music that doesn’t announce itself—it reveals itself slowly, through craft, humor, and an almost architectural sense of melody. Their live show refines that intelligence into joy.
At Newport, the band played as though recognition were beside the point. They know who they are: writers of intricate pop songs that still invite you to sing along, musicians disciplined enough to sound effortless, performers unafraid to be earnest in an age allergic to it.
Underrated? Certainly. But maybe that’s the wrong word. Jukebox the Ghost aren’t waiting for the world to catch up—they’re too busy making it sound better.
The center of the set turned into something closer to ritual. “Minigun” and “Fukstar” crackled with controlled hostility before the unrestrained combustion of “Rage All Over.” The push and pull between programmed beats and jagged guitars felt like the heartbeat of the night — human volatility colliding with machine precision. “Pyro Pyro” carried that tension further, its mechanical pulse spiraling into the unnerving weight of “Small World Syndrome.”
She began with “Still My Heart” and “Do or Die,” two songs that framed the evening around urgency and perseverance. From there, “Unprecedented Sh!t” and “You Forgot to Speak” highlighted her sharp lyrical wit—songs that are equal parts call-out and confession, crafted with her trademark off-kilter guitar lines. Even in moments of levity, the edges were pointed.
Throughout the concert, Becky G made a point to connect with her fans. Between songs, she shared stories about her upbringing and the struggles she faced in the industry. Her honesty resonated deeply with the fans, who appreciated her authenticity and how she celebrated her roots as a Latina artist. She is an artist who genuinely valued her heritage and the importance of community.
The venue, known for its atmosphere and excellent acoustics, was packed with fans eager to take in the band’s unique blend of Jazz, soul, and pop. Delivering energy and nostalgia, their performance was both charming and heartwarming. Positive energy flowed through the upbeat and somber tempos of their catalog of music alike.
As a casual fan, you’ll realize how many of their songs you know and love. As a serious fan, you’ll be delighted by the setlist — a mix of tracks from their discography, blending older favorites with new material from their latest album Brain Damage. The crowd experienced the live debut of “Traveling at the Speed of Light.” and the supremely popular, fan favorite coined “Double Destruction”.
Ela Melo and the band were finally back on tour, sounding as good as ever. Meol’s ability to oscillate between tender introspection and explosive passion was on full display. Stage lights and Ela’s distinctive voice, characterized by its raw intensity and emotional depth, set the tone for the evening and drew the crowd into the band’s world.
On September 7, 2024, Nationwide Arena in Columbus became a “space hub” of nostalgia and innovation as Dinosaur Jr., The Flaming Lips, and Weezer delivered their "Journey to the Blue Planet" tour. This concert, an audacious blend of alternative rock, psychedelic experimentation, and pop-punk anthems, lived up to the hype.
Dinosaur Jr. opened the evening with their blend of fuzzed-out guitars and introspective lyrics. J Mascis’ iconic, distorted riffs blasted through the arena while Jay Barlow flailed around rhythmically in mismatched socks. Dinosaur Jr. remains a cornerstone of alternative rock with their raw intensity.
The Flaming Lips followed with a condensed version of their typically eccentric and visually dazzling spectacle. Wayne Coyne, ever the showman, led the audience through a mesmerizing journey of lights and sounds and of course a few pink robots. Their performance is always an immersive experience that is both whimsical and profound.
Even if you have seen Weezer perform live before, this was by far, their biggest spectacle. Their performance was split into three acts while they took part in their “Journey to the Blue Planet”. As they have done in several of their past shows, the backdrop display was a huge part of their stage performance — this time, blasting off and taking us throughout the galaxy. Patrick, Scott, Brian, and Rivers brandished spacesuits, each with their own individual patch scheme. Their ability to blend nostalgia with fresh, upbeat energy ensured that their performance was both a celebration of their past hits and a showcase of their continued relevance in the alternative rock scene. The Journey to the Blue Planet may have only lasted a few hours, but it took 30 years to get here, and will likely be remembered for decades to come.
Starset’s Immersion tour stopped at Kemba Live on August 31, 2024, and it was a futuristic spectacle that immersed people in an experience that involved music, technology, and cinematic storytelling. Their show is something much bigger now. As soon as you walk into Kemba Live!, there is a long holographic display welcoming you into the venue by providing just enough information to provoke intrigue. For fans and newcomers alike, the show was a full-dive experience into the band's unique universe.
Sammy Rae & The Friends brought a fresh, genre-blending approach while The Avett Brothers provided a reflective and emotionally resonant counterpoint. They are known for their earnest, heartfelt performances that can bring fans to tears. Their set was a journey through their extensive discography, featuring both fan favorites and new material from their eponymous album released in May.