Photo by Deanna DeSlover for The Early Registration
Madison got loud on Friday night as Garbage brought their Happy Endings Tour to The Sylvee for a sold-out show that reminded fans why the band remains one of alt-rock’s most fearless forces. Returning to Wisconsin with a mix of nostalgia, raw honesty, and new material, Shirley Manson and company filled the room with sound and soul, proof that their fire still burns just as bright decades into their career.
Performing in support of their latest album, Let All That We Imagine Be the Light, the show carried an undercurrent of resilience and renewal. The project was born from Manson’s recovery following a serious hip injury that forced her off the road, and that sense of fragility turned into power pulsed through the night’s set. Garbage balanced moments of vulnerability with the snarling confidence that’s long defined them.
The 20-song performance moved between eras with ease. Early favorites like “Vow” and “I Think I’m Paranoid” were met with roaring recognition, while deeper cuts like “Bleed Like Me” and “The Trick Is to Keep Breathing” carried new emotional weight in light of the band’s recent journey. Newer material, including “There’s No Future in Optimism” and “Chinese Fire Horse,” sat comfortably alongside the classics, blending reflection with rebellion.
Between songs, Manson was her signature mix of candid and commanding, telling stories about label rejections, old auditions, and the unpredictable road that’s kept Garbage moving forward. By the time the encore closed with “Stupid Girl” and “Only Happy When It Rains,” the crowd was completely in sync, echoing every lyric back toward the stage.
Garbage’s night at The Sylvee wasn’t just a concert, it was a celebration of endurance, artistry, and the beauty of imperfection. And for the thousands who packed the venue, it was clear that Madison will always make room for a little glorious noise.
Photo by Deanna DeSlover for The Early Registration
On a crisp early fall night on Milwaukee’s lakefront, Twenty One Pilots brought their signature blend of theatricality, raw emotion, and communal energy to the American Family Insurance Amphitheater. The duo of Tyler Joseph and Josh Dun transformed the Summerfest venue into something closer to a fever dream than a concert, pulling fans into their world from the first chords of Overcompensate to the final cathartic singalong of Trees. It wasn’t just another Midwest tour stop, it was an immersive experience that made the amphitheater feel like an extension of the band’s imagination.
The setlist was a true gift to both casual listeners and longtime members of the “Skeleton Clique,” longtime diehard fans of 21P. Milwaukee was treated to highlights from across the band’s catalog: the ukulele-driven nonestalgia of House of Gold, the genre-bending chaos of Lane Boy, and the cinematic sweep of newer tracks like Next Semester. A fan was even pulled onstage to help lead Ride, one of the many moments that reminded the crowd how Joseph and Dun use their shows to dissolve the line between performer and audience. No matter how big the venue, they have a knack for making it feel like a basement show with friends.
But as much as the night celebrated the duo’s music, it also showcased their showmanship. Joseph darted across the massive stage and even found himself perched in the crowd throughout the evening. His energy felt uncontainable, keeping fans on their toes as he shifted between instruments, stories, and physical stunts. Dun, meanwhile, delivered a jaw-dropping drum feature, hammering out rhythms on a portable kit hoisted by fans in the crowd. The production matched the energy, bursts of pyro and a lighting design that swung from intimate spotlight moments to blinding, arena-worthy spectacle.
Those shifts in mood are what make a Twenty One Pilots concert so distinct. One moment, the amphitheater was holding its collective breath during stripped-down ballads like Tear in My Heart and Message Man; the next, it was a riot of color, sound, and sweat as fans jumped to Heavydirtysoul or Jumpsuit. That ability to pivot between vulnerability and chaos is at the heart of their live reputation, and Milwaukee’s crowd leaned into every note.
By the time the encore rolled around, including City Walls, and the Grammy-winning Stressed Out, the AmFam Amp felt less like a music venue and more like a gathering of friends who’d weathered storms together. And as Trees closed the night with its trademark group chant, thousands of voices echoed into the Wisconsin night, a reminder that Twenty One Pilots aren’t just performers but ringmasters of one of live music’s most unique communities. Walking out into the cool air after, fans knew they had been part of a memory only Joseph and Dun could orchestrate.
Chicago’s United Center pulsed with electric nostalgia as rock titans The Who took the stage for one of the most emotionally charged shows of their The Song Is Over: North American Farewell Tour, delivering a performance that felt both like a grand goodbye and a triumphant celebration of a six-decade legacy.
Announced in May as their last-ever run across the U.S. and Canada, this farewell tour sees founding members Pete Townshend and Roger Daltrey closing the book on a storied career with passion and tribute to fans past and present. The Windy City stop, supported by the blues virtuoso Joe Bonamassa, was one of the defining moments of the tour, a soaring blend of rock anthems, cinematic flair, and heartfelt reflection.
Performing to a sold-out crowd, The Who offered fans a taste of every era in their expansive catalog, from early revolutionary hits to timeless rock operas, delivered by two legends who still exude fiery stage presence and musical integrity. As the house lights dimmed one last time, the Chicago audience was left awestruck, united in appreciation, memory, and the bittersweet realization of an era’s end. Punk-powered riffs met tender moments, and emotional crescendos reminded everyone why The Who’s music still resonates across generations.
Relive the evening through our exclusive photo gallery, capturing the raw energy, iconic stagecraft, and timeless magic of The Who’s farewell night in Chicago.
Ty Myers performs during his headlining stop at The Sylvee in Madison, Wis., on Friday, Sept. 5, 2025. (Photo by Deanna Glatczak/The Early Registration)
Friday night, rising country artist Ty Myers brought his Select Tour to The Sylvee, filling the downtown Madison venue with a mix of youthful energy and old-soul authenticity. Doors opened early for a crowd that spanned from longtime country fans to college-aged newcomers eager to see a 18-year-old who’s already making waves nationwide.
Myers, who grew up on a six-generation cattle ranch outside Austin, has quickly earned a reputation as a voice to watch. Influenced as much by Stevie Ray Vaughan and Bill Withers as by Chris Stapleton and George Strait, his style blends classic grit with modern storytelling.
The Sylvee show leaned on that growing catalog. The crowd came alive when Myers launched into “Drinkin’ Alone” and “Tie That Binds,” two clear highlights of the night. Backed by his talented band, he delivered the kind of performance that balanced polish with raw honesty, showing why his star continues to rise.
Madison got a glimpse of a young artist still building his career but already commanding the stage with confidence. Myers left The Sylvee with more than applause, he left with the impression that his name will be on much bigger marquees before long.
Linkin Park made their long-awaited return to Milwaukee on Monday night, and the Fiserv Forum crowd was more than ready to welcome them back with open arms and louder-than-life voices. The From Zero World Tour has been a victory lap of sorts for the band, not just celebrating their legacy but proving that they are very much rocking and thriving in 2025.
With their new album From Zero fueling the setlist and Emily Armstrong stepping confidently into her role as the band’s vocalist, this wasn’t just a nostalgia trip. It was a reminder that Linkin Park can still shake the walls and hearts of an arena as if no time had passed. In fact, after nearly a decade since their last Milwaukee appearance, at Summerfest 2015, you could say fans were crawling in their skin waiting for this night.
From the moment the band launched into “Somewhere I Belong,” the energy inside Fiserv Forum was electric. Fans erupted as if the song had been bottled up inside them for years, finally able to be unleashed in one euphoric scream. The production pulled no punches either. An immersive stage at the center of the arena with 360 degrees of fans on the GA floor and throughout all levels of the arena made for a great night. Milwaukee got the full Linkin Park experience, complete with moments that felt like thunderclaps one second and hushed confessions the next. The group leaned into their act-based structure that has been a consistent thread throughout the tour, giving the night a cinematic flow, almost like flipping through the chapters of a diary.
Emily Armstrong continues to be the standout story of this era. In city after city, she has shown that she doesn’t need to mimic or replace what can never be replaced. Chester Bennington’s absence will always be felt, but instead of trying to fill his shoes, Armstrong honors the spirit he left behind while bringing her own grit, range, and stage presence to these songs.
During “Numb” and “In the End,” Armstrong often let the audience carry the weight, creating one of those goosebump-inducing moments when thousands of voices blended into one. Then she’d turn right around and ignite new songs like “The Emptiness Machine” and “Heavy Is the Crown,” pouring so much fire into them that you could feel the arena collectively buying in to Linkin Park’s next chapter.
Of course, Mike Shinoda remains the heartbeat of the show. His raps on “Papercut” and “Remember the Name” (from his hip-hop side project, Fort Minor) hit with machine-like precision, and his voice on tracks like “Waiting for the End” gave the night a spiritual quality.
The setlist was built to please everybody, from the diehard Hybrid Theory fans who have had these songs tattooed on their souls since 2000, to the fans embracing the shiny new material. Old favorites like “Crawling,” “Faint,” and “One Step Closer” hit as hard as they ever did, proving the band hasn’t lost a single ounce of its ferocity. Then came the new songs from From Zero, which flowed seamlessly into the night instead of feeling like an intermission. “Cut the Bridge” and “Overflow” showed off the band’s modern muscle, while “Lost” acted as the emotional centerpiece, silencing the room before turning it into a chorus of catharsis.
By the encore, everyone knew what was coming, but that didn’t make it any less explosive. The band returned with “Heavy Is the Crown,” giving one last punch of new material, before unleashing “Bleed It Out.” As Shinoda commanded the crowd to chant along, the noise grew so deafening that it felt like the entire Deer District could hear it. Fans jumped, shouted, and emptied their lungs on that finale, leaving the arena buzzing long after the last note. If the Bucks ever need a new pump-up anthem, they might want to consider putting this closer in their pregame playlist.
By the end of the night, Milwaukee had witnessed something bigger than just a rock concert. Linkin Park turned Fiserv Forum into a time machine, a therapy session, and a celebration all at once. They honored the past while embracing the future, and they did it with enough energy to power the city’s skyline. For longtime fans, it was validation that the wait was worth it, and for new ones, it was proof that this band is still one of the most important in rock. Linkin Park didn’t just bring the house down in Milwaukee. They built it back up again, stronger than ever, from zero.
Under a golden dusk at the Summerfest ground’s scenic BMO Pavilion in Milwaukee, last night Simple Plan delivered a high-octane, feel-good show, celebrating their 25th anniversary on the aptly named Bigger Than You Think! Tour, with spirited support from 3OH!3, Bowling for Soup, and LØLØ.
LØLØ kicked things off with infectious energy and charisma, her voice slicing through the breeze and warming the crowd instantly. Though brief, her set hinted at the indie-sleaze flair that earned her a spot on this stacked bill.
Bowling for Soup followed with their signature tongue-in-cheek humor and years of hits. Their self-deprecating jokes and crowd-pleasing tracks like “1985” had fans roaring and laughing in equal measure.
3OH!3 wrapped up the opening acts, unleashing electronic-pop bangers like “Don’t Trust Me” with pulsing beats and playful stage banter. The duo had the amphitheater bouncing, half dancing, half singing along, setting a buoyant tempo for the evening.
By the time Simple Plan took the stage, excitement pulsed through the crowd like electricity. They opened with “I’d Do Anything,” “Nothing Changes,” “Shut Up!,” “Jump,” “Addicted,” and “Jet Lag” (the latter featuring LØLØ joining for a memorable duet).
From that moment, it was a seamless, high‑voltage romp. The band’s precision was striking, tight riffs and polished harmonies. Lead singer Pierre Bouvier addressed the audience with warm familiarity, the band clearly feeding off Milwaukee’s energy.
Highlights followed at a rapid clip: “Can’t Keep My Hands Off You,” “Welcome to My Life,” and “Summer Paradise” found a perfect spot early, blending heartfelt nostalgia with anthemic hooks. The emotional mid‑set pivot came with “Untitled (How Could This Happen to Me?)” where Pierre was on the keys in the crowd, who was collectively holding its breath at the raw sentiment on display.
Playful chaos ensued later with a series of covers and mash‑ups. And as the main set wrapped, they capped things off with a flawless encore, delivering “I’m Just a Kid” followed by “Perfect”, a heartfelt, nostalgic send‑off that left the Pavilion glowing in unison.
Milwaukee’s BMO Pavilion, framed by Lake Michigan and built for concerts, proved the ideal setting. The sound was crisp and powerful without distortion, allowing every chord and vocal flourish to hit home. Lighting and stage visuals were dynamic but never overblown, reinforcing the joyous spirit of the evening.
Simple Plan’s performance at BMO Pavilion was a masterclass in balancing nostalgia with tight modern showmanship. From the opening trio of support acts to the heartfelt encore, the evening was paced with precision and brimming with pop-punk joy.
They reminded Milwaukeeans, and perhaps themselves, just how big this band still feels. The Bigger Than You Think! Tour isn’t just a title, it’s a promise that, even after 25 years, Simple Plan can still ignite crowds and make us feel young again.
Jack Antonoff’s Bleachers performed for packed crowd on the final day of Outside Lands 2025 (Photo by Dan Garcia).
The final day of Outside Lands 2025 closed out the weekend on a high note, delivering a genre-spanning lineup that felt like a victory lap for both the artists and the thousands of fans packing Golden Gate Park. From afternoon sunshine singalongs to after-dark light shows, Sunday’s performances gave festivalgoers one last reason to dance, cheer, and maybe even shed a tear before heading back to reality.
Here are some of our favorite moments from the third and final day of this year’s festival.
Hozier
The Irish singer-songwriter brought his soulful, arena-filling voice to the Lands End stage, weaving through fan favorites and new cuts alike. As the fog rolled in, “Take Me to Church” turned the park into a giant choir, proving why Hozier is one of the most magnetic live performers today.
Anderson .Paak
Closing out the Sutro stage, Anderson .Paak brought pure California energy, blending slick funk grooves with his signature charisma. Backed by the Free Nationals, his set was a non-stop party that felt tailor-made for the festival’s final hours.
Bleachers
Jack Antonoff and company kept spirits high with an anthemic set that had fans jumping and shouting along to every word. “I Wanna Get Better” and “Don’t Take the Money” hit especially hard as the crowd soaked up the last bits of summer daylight.
Bigxthaplug
The Texas rapper delivered one of the day’s most high-octane sets, charging through bass-heavy tracks that rattled the Golden Gate Park. His stage presence was all grit and swagger, turning casual passersby into instant fans.
Rebecca Black
Once a viral pop figure, Rebecca Black showed just how far she’s come, owning the stage with polished electro-pop bangers and playful energy. Her crowd was all smiles, dancing without a care as she turned nostalgia into something bold and fresh.
Glass Animals
The indie-pop favorites turned the main stage into a technicolor dream, pairing lush visuals with their tropical beats. “Heat Waves” was the obvious highlight, sending the audience into a swaying, euphoric haze.
Jorja Smith
Closing out her U.S. festival run, the British R&B star captivated with a silky, understated set. Her voice carried effortlessly over the park, inviting the crowd into her world one smoky note at a time.
Photos by Dan Garcia
Jack Antonoff’s Bleachers performed for packed crowd on the final day of Outside Lands 2025 (Photo by Dan Garcia).
LaRussell jumps into the pit to greet his hometown crowd at Outside Lands 2025 Day 2 (Photo by Dan Garcia).
Saturday brought a different kind of electricity to Golden Gate Park, one built on nostalgia, hometown pride, and unexpected genre mash-ups. The second day of Outside Lands wasn’t about easing into the weekend; it was about hitting the gas and keeping it there until the last note rang out.
Crowds spilled between stages chasing everything from Bay Area hip-hop to polished indie rock, never staying still for long. Here’s a look at some of the standout performances that defined the festival’s middle day.
Ludacris
With the confidence of someone who’s been commanding stages for decades, Ludacris turned the Lands End field into one giant block party. His rapid-fire delivery, playful banter, and string of early-2000s anthems had fans rapping along like muscle memory.
LaRussell
Few artists can connect with a hometown crowd the way LaRussell can. Between sharp verses and motivational asides, the Vallejo native made his set feel like a rally for the Bay, drawing cheers that echoed well beyond the stage.
Bakar
Bakar’s genre-bending sound was tailor-made for a festival afternoon, smooth one moment, jagged the next. “Hell N Back” became a full-on park-wide singalong, while his more off-kilter tracks kept listeners leaning in.
Matt Champion
Shedding expectations from his Brockhampton days, Matt Champion delivered a set that felt forward-looking and unpredictable. Swapping between laid-back flows and bursts of high energy, the former Brockhampton standout showed just how far his artistry has evolved.
Vampire Weekend
Bathed in natural lighting and backed by a crowd that knew every word, Vampire Weekend brought an easygoing close to the day. The classics from their matinee set hit like old friends, while newer songs proved the band’s charm hasn’t faded.
LaRussell jumps into the pit to greet his hometown crowd at Outside Lands 2025 Day 2 (Photo by Dan Garcia).
Doja Cat headlines Day 1 of Outside Lands 2025 (Photo by Dan Garcia).
The opening day of Outside Lands wasted no time setting the tone for the weekend. Golden Gate Park came alive with the hum of bass, the shimmer of sequins, and the constant shuffle of fans racing to catch their must-see sets. By sunset, it was clear Friday wasn’t just a warm-up, it was a statement.
From virtuosic bass solos to crowd-surfing pop moments, here’s how Day 1 made its mark.
Thundercat
Armed with his signature six-string bass and an unmatched sense of groove, Thundercat kicked things into gear with a set that was as much about musicianship as it was about pure vibe. His improvisational runs had the crowd grinning and nodding in sync.
Doechii
Effortlessly blending bold style with razor-sharp delivery, Doechii commanded the stage like she owned the park. From hard-hitting rap verses to fluid R&B hooks, her set kept the audience locked in from first beat to last.
Doja Cat
Doja Cat’s headlining performance was part spectacle, part masterclass in pop star charisma. Flanked by dancers and dazzling visuals, she cycled through chart-toppers and fan favorites with ease, each track met with deafening cheers.
Role Model
With wry humor and a knack for hooks that stick, Role Model delivered one of the day’s most unexpectedly massive crowds. Between playful banter and heartfelt ballads, his set had fans swaying one minute and belting lyrics the next.
Photos by Dan Garcia
Doja Cat headlines Day 1 of Outside Lands 2025 (Photo by Dan Garcia).
Country Thunder Wisconsin 2025 officially kicked off last night in Twin Lakes with a high-energy set from country hitmaker Cole Swindell. The Thursday night headliner wasted no time getting the party started, running through a crowd-pleasing mix of chart-toppers, singalongs, and heartfelt ballads that set the tone for the rest of the weekend.
From the moment he stepped on stage, Swindell had the massive Twin Lakes crowd singing along to hits like “Ain’t Worth the Whiskey,” “Middle of a Memory,” and his career-defining anthem “She Had Me at Heads Carolina.” With a blend of smooth vocals and laid-back charm, Swindell effortlessly connected with the audience, many of whom had been tailgating since the early afternoon. He also paused for a few sincere moments, thanking fans for starting their weekend with him.
Despite the heat, the energy didn’t let up once throughout the set, and fans left buzzing about what’s still to come. With Hardy, Jelly Roll, and Dierks Bentley set to headline the next few nights, Cole Swindell’s kickoff was the perfect way to start one of the Midwest’s biggest country weekends of the year.
Check out some of our favorite photos from Cole Swindell’s opening night performance below (Photos by Dan Garcia/The Early Registration).
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