There’s no sweeter comeback than one by a band that didn’t quite get their due the first time around. After leaving an indelible mark in the 1990s underground with their massive and melodic rock and then disbanding, Kansas City post-hardcore heroes Shiner have mounted a gradual revival that was somewhat muffled by the pandemic.
Now that they’re out with their first post-COVID album (BELIEVEYOUME), only their second since their 2003 breakup, Shiner are ready to take a delayed and deserved victory lap.
The also-excellent openers are Chicago’s Bursting and Orlando’s Hollow Leg. This one will be historic.
It’s a bill chock-full of Florida’s emo finest getting the fuck out of Florida and the fuck into Will’s Pub this week.
The New York-born group Bad Luck are heading to Orlando on their Get Me the Fuck Out of Florida tour, which stops at Will’s Saturday.
Along for the angst-ridden ride are Florida bands Northbound, Camp Trash and Orlando’s own Porch Coffin (the artistes behind transcendently punk new mini-album Dogs Bite). It’ll be loud, pointedly emotional, and make you really want to get out of your hometown.
We can’t think of a better way to usher in 2026 than being crammed into a club facing down a 70-year-old, saxophone-playing, oiled-up possible vampire. It’s just the right dose of surrealist, unselfconscious joy to make for a dandy palate cleanser to 2025’s unrelenting grimness. And it’s happening. It’s real.
That this saxophonist (maybe) vampire has one truly great 1980s anthem in “I Still Believe” under his studded belt is a bonus.
We’re speaking, of course, of Tim Cappello, known to several successive generations of film freaks as the jacked-up and well-lubricated sax player jamming with Tina Turner both onstage and on screen in Mad Max Beyond Thunderdome and leading his own band in iconic teen vampire flick Lost Boys in the 1980s.
But here’s the thing: Whereas Cappello could have been just a footnote in pop-culture history, instead he grabbed hold of both his sax and his own creative destiny and kept at it — playing gigs with ponytail, physique and hip-thrusts fully intact. Cappello is very much in on the joke, and like every good comic, he knows that it’s all in the conviction of the delivery. Plus, his “I Still Believe” is a rock-solid jam.
Orlando Weekly reached Cappello at the very un-undead hour of 9 a.m. to talk about his live return to Orlando after a couple of years’ absence. Yes, Cappello will be back on stage at Will’s Pub on Wednesday, Dec. 31 with Super Passive and Smilin Dan , and he’ll be the last thing lucky attendees will see of 2025 on New Year’s Eve.
“Me and Will’s pub are just meant to be together,” says Cappello. “I consider that a home away from home. I love it there. They are just absolutely right up my alley, and they take care of me so well.”
Reminiscing about the 2023 show at Will’s, talk turns to how he started the show snaking through the crowd, into the bar area, playing irreverent blurts and wails on his sax as people crowded around him, yelling appreciatively and taking video. (Not unlike Ohio sax maniac Bobb Hatt, oddly.) We wonder what goes through his mind when he gets down with the people like that.
“First I’m thinking, ‘Am I going to come out of that with an intact saxophone?’” Cappello laughs. “Is somebody going to, like, get so excited that they raise their fists and yell, and I’m left with something that sounds like I’m playing in a marching band? I could care less if somebody punched me in the face by accident. I understand that entirely. But the whole thing of you not having a saxophone that’s going to make it through the night, that’s scary!”
Accidental face-strikes aside, Central Florida seems to be a place that has particularly taken Cappello to heart. Maybe it’s because Tampa was a hotbed for goth in the 1980s/1990s (see: Castle, The), or maybe it’s because we in Orlando have a soft spot for larger-than-life heroes and villains (see: Epic Universe). And it’s not just a nostalgia thing, either. While there are fans who clearly came of age watching Kiefer Sutherland smolder in a blond mullet wig, there are just as many young folks who weren’t even a glimmer in their parents’ eye when Lost Boys came out.
“Go ahead and rub it in!” jokes Cappello.
To which we reply: You’re a vampire, come on now.
“When I did the film, it made no dent on anything. I never got one gig out of it. It never mattered. Then when I became [fans’] grandfathers’ age, with that Saturday Night Live Jon Hamm skit, that is when people started calling me. … When I played gigs 20 years ago, there was hardly anybody there, and then, for some reason … in my 70s, for some weird reason, people want to come out and see me.”
This multigenerational appeal that Cappello is so amazed by is particularly strong in Florida. Cappello says that it’s been either feast or famine here in the Sunshine State.
“Florida crowds are either not interested at all, or else they’re the absolute best crowd that you could ever have,” says Cappello, adding that it’s leaning more toward the latter of late. “I’m the luckiest guy in the solar system. … Their grandfather in a pair of purple tights, shaking his ass. I mean, who would ever pay for that?”
Adding even more to the “good luck” side of Cappello’s ledger is his recent collaboration with on-the-rise synthwavers Gunship on “Tech Noir 2,” laying a sax solo over the futuristic grooves.
“Like I said, talk about the luckiest dude in the world! This is one of the great acts that is just totally up my alley. And they are the most talented people. They are just killing me, you know, I listen and I go, ‘OK, I’m doing good. I sound good. But that’s not even close to what they’re doing.’ They are laying it down.”
And Cappello wasn’t the only legend recruited for the single and video — horror icon John Carpenter did a narrative intro for the song.
“Oh my god, this is an idol of mine! It’s just plain old chance that somebody must have said, ‘Hey, the crazy guy that used to play with Tina Turner and was in Lost Boys, let’s see what he can do,’” says Cappello. “And it turned out to be one of the most satisfying musical experiences.”
But looking ahead, you’d best believe that Cappello is going to make sure he’s on stage when the clock strikes midnight Wednesday.
“We’re going to time this as best as we possibly can,” promises Cappello. “There’s no way that I could not play ‘Auld Lang Syne’ for everyone. We can all enjoy ourselves and then break it in.”
The third annual Orlando Girls Rock Fest is back this week to ensure local rock thrives. The daylong music showcase spotlights the members, volunteers and community who make Orlando Girls Rock Camp what it is: a space for local artists to instruct girls, nonbinary and trans youth about all things music.
It’s a can’t-miss showcase of the long hours and passion that go into uplifting our local youth, Orlando’s arts scene and the next generation of rockers. Live performances come courtesy of bands formed within the camp and other area talents, like Boston Marriage, Cat Nap, The Dropdeads, Holly Pocket, Misspel, The Mystic, M.A.C.E., Real Teen Suicide, Pinko Beats, Please Be Kind, Tiger54, Trashworld and more.
Orlando actress, singer and artist Tymisha Harris brings her Cabaret of Legends revue back home for a two-night run to close out the year.
All by her lonesome, Harris channels the iconic likes of Ella Fitzgerald, Beyoncé, Nina Simone and Tina Turner. Between show-stopping readings of these songs, Harris weaves in personal stories and memories, laying bare how these songs and performers influenced her own vibrant work and life.
And it’s in the intimate Judson’s room, to emphasize the personal nature of these performances even more.
Saturday-Sunday, Dec. 27-28, Judson’s Live, Dr. Phillips Center for the Performing Arts, 445 S. Magnolia Ave., drphillipscenter.org, $29-$52.
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“I think, honestly, very few people are truly bigots. I think most people are just really ignorant. There are some true bigots, and fuck them. They have no Christmas, Santa’s watching them, and they’re fucked. But in general, most people, I think, who have their bigoted ideas that they stay contracted around, especially older generations, it’s because it makes them feel safe.”
Getting into the holiday spirit is easy for some. For others, it’s something more of an ordeal. When it comes to the season, many can attest to messy family dynamics, racist uncles and homophobic jokes at the dinner table. But instead of encouraging fans to ignore these seasonal downsides in search of fabricated joy, Storm Large, lead singer of internationally loved loungers Pink Martini, is throwing it all on the table. Back for yet another year is Large’s solo show “Holiday Ordeal,” where punk meets Christmas, at Judson’s Live on Tuesday and Wednesday, Dec. 16-17.
Large says she selfishly started her holiday set after realizing how dark today’s world has become. And in our current culture, with so much pressure placed on everyone to be perfect and “morally pure,” she says it’s not about being politically correct, it’s about “not being a dick.” As we’re all fallible and inevitably “careening down this timeline together,” she figures, why not lighten up and have some fun?
“I take my job very seriously, but I don’t take myself very seriously, and that’s probably why I’ve managed to do this job for so long. But I’m just kind of a cut-up. I’ve been a cut-up forever, and I love Christmas. I love the holidays. I wasn’t raised religious or anything, but there’s just a sense of magic in the whole … Solstice and Christmas, Kwanzaa, Hanukkah. There’s just sort of like the end of the year, the beginning of the year, the darkest night ever, you know. So I just kind of liked to celebrate with humans in real life, which nowadays seems like a radical act of optimism, but in a live music setting. Make people laugh, make people feel good, sing Christmassy songs, but also sing songs that are evocative of just sort of the holiday spirit, of giving, of rebelliousness, of silliness, of love, of togetherness, hope, all that corny shit.”
Helping the crowd find ways to be jolly often involves a broad gesture to everything that’s transpired throughout the year, with Large first greeting the audience, “Holy shit, you guys.”
Growing up as the black sheep of her family, Large is all too familiar with complex family dynamics. She says she gets plenty of eye-rolls when she wonders, “Can’t humans just human?” But she’s firm in her belief that you can’t change the way someone sees something, in the same way that they can’t change the way you see it.
Although she doesn’t get explicitly political during her shows, Large says that she doesn’t have to. Describing herself as one of a different tribe, she believes her fans understand that she has love for all people. It’s because of this that her show also doubles as a safe space for all the other outcasts and weirdos during the holiday season.
“I think as a performer, people trust me. They know that I am a loving person and that we all feel differently, we all pray differently, we all love differently. We come from very different places. And there are people who are trying to make all of that difference into a negative column. But you can’t fight the positive column of our melange of difference. It is our superpower,” she says. “And in a Christmas Hanukkah, Kwanzaa, rock & roll, punk rock, silly, dorky show sung by a giant, slutty-looking rock & roll person, you know it’s a safe place to be. People want to feel seen. They want to belong somewhere. And I was so lonely as a child that I’m like, ‘I’ll never let anyone feel like that.’ And you can feel that in the show, and everybody can feel that in the show.”
Throughout an incredibly diverse career, which has taken her from culinary school to America’s Got Talent, Large says that music has become a way to help people in a larger sense. She says that she nearly quit music in the wake of 9/11, feeling that she needed to “do something a little more important than just make noise with my face and tell my silly jokes.”
But when Large eventually started playing music again, she realized that she was able to make more of an impact socially and emotionally with her singing.
“As a musician and as a personality, I’m given the opportunity to travel so much and meet so many people, I can make an actual hands-on impact to more people,” Large says, “because music is sneaky. Music gets into you, and it really can fuck with the controls and change your polarity. It can really alter things in a positive way.”
So if you’re in dire need of some cheeky holiday cheer, with notes of nostalgia and a perhaps little mischief, Storm Large’s two-night Holiday Ordeal at Judson’s Live on Tuesday and Wednesday, Dec. 16-17, promises the perfect mix of heart and holiday magic.
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Enigmatic singer and producer Cowgirl Clue is a one-off in an ever more homogeneous pop-industrial complex: a hyper-pop maestro who suffuses her sound and imagery with country music tropes. And it works!
The windswept vistas and beat-up trucks in promo photos and the occasional twang surfacing in the sleek-synthy haze and future-forward beats in “Rodeo Star” and “Left Unsaid” make for compelling listening.
And she’s no novelty act. Last time she played Conduit, she packed out the joint. This time should be no different. So mount up and ramble over.
Formerly a songwriter to the stars, Elena Rose penned hits for the likes of Bad Bunny, Rauw Alejandro and Karol G before stepping out on her own with debut album En Las Nubes — Con Mis Pana in 2024.
From there it was off the races for the Venezuelan-American singer, a blur of chart-topping singles, festival performances including Coachella, and a major crossover collab with Ed Sheeran.
Fresh off a showstopping performance and nabbing a songwriter award for Song of the Year a couple of weeks ago at the Latin Grammys, she’s now on a U.S. headlining tour. Find out why her time is now.
7 p.m. Saturday, Nov. 29, House of Blues, Disney Springs, Lake Buena Vista, orlando.houseofblues.com, $64-$175.
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Similar to some of the recent goings-on at Austin’s, change is in the air at Drunken Monkey Coffee Bar in the Milk District.
The spot is now worker-owned and it looks like the new owners are stretching their legs a little with this after-hours experimental show.
The evening starts as soon as regular hours are over at the Monkey, when an eclectic who’s-who of young Central Florida experimental talent with a decidedly femme bent take over the place: Brass Horse, KT Kink, Eggs (from Tampa) and Selcouth.
Not only is this a great lineup, but the merest possibility of catching a noise show while drinking a Tantric Mayan (why are you giggling at us?) has us over the moon.
“We are running off of pure love of doing what we do, and I want it to be an escape for people. I want them to have 30 minutes to an hour out of their day where they can just be a little freak and run around and punch and whatever.”
Coco Kinnon, frontwoman of rising Nashville-based pop-punk band Winona Fighter, started early in music: drumming on stage at the age of 12, playing underground shows in the New England punk scene.
Kinnon, whose father raised her on rock and grunge, always found herself drawn to punk. But after joining her first band (a punk band, of course), she started to fall in love with more than just the music, but also the punk scene.
“The music is very scary and harsh, and the mosh pits can be a little much for people,” Kinnon tells Orlando Weekly, “but it’s also a community where everyone has each other’s back and everyone’s welcome, and it’s open to all new faces and to those who are young and old.”
Years later, Kinnon met bassist and producer Austin Luther, who was into late-’90s and early-aughts alternative, and lead guitarist Dan Fuson, who loved ’80s metal. The three shared a mutual drive to play in a rock band.
“So for me, it was like that feeling of taking what I grew up in and bringing it into something new and fresh, because Nashville doesn’t really have a punk scene,” says Kinnon. “And for the boys, it was like this cool introduction to a totally new community.”
Before the release of their first EP, Father Figure, in 2022, the band was just going by Kinnon’s nickname, “Coco.” Then one night, after mulling over potential band names, Luther — a pop-culture obsessive — came up with “Winona Fighter.”
Kinnon felt the name was “the perfect balance of masculine and feminine, like pretty, but harsh.” Thus Winona Fighter was born, and they are now part of the lineup of the 2025 Vans Warped Tour on the heels of their latest album, My Apologies to the Chef.
Kinnon describes the whole thing as surreal, with the band gearing up to head to Orlando not just to play the main fest, but also Will’s Pub for an official afterparty — all on Saturday.
“I grew up going to Warped Tour, and I looked up to these bands, and I looked up to bands that were as big/little as we are. I thought they were like the shit,” says Kinnon. “It’s so funny now to be in that position of, you know, we’re still grinding so much, and we’re still doing van tours. We’re still little fish in such a big pond. But to know that we are having that weird impact on people that I had with the bands I saw at Warped Tour and Warped afterparties, it’s such a really cool, exciting thing for us.”
Luther recorded their entire album in his home studio, which also doubles as a garage. Kinnon, who helped produce the record, says the band loves to do as much as possible by themselves, staying true to their DIY roots.
As a pop-punk band, they created this new album to make punk accessible to all music lovers. Kinnon says the goal was to make a record of really catchy punk music that would appeal to people unfamiliar with the genre, even to those who weren’t into “super thrashable, yelly, loud punk music.”
The record’s lyrics center on the human experience and universal struggles of daily life, with tracks like “You Look Like a Drunk Phoebe Bridgers” and “I’m in the Market to Please No One.”
“Everyone can listen to the record and find one song where they relate to it, because it’s like we all go through these things,” says Kinnon. “Everyone feels like it’s a lonely, unique experience, but in reality, there’s always someone who can relate to what you are going through.” For Kinnon, every day with the band feels like an impactful moment.
“Every moment, even if it’s like, we show up and the green room has our little snacks that we like, or we show up and there’s even 50 people in a room, it’s so cool to us, like, ‘Oh, we are reaching people, and we are having an impact,’” says Kinnon. “Or we write a song that we think no one’s gonna understand. But then people are on Reddit and they’re just like, ‘Wow, this song hit me hard.’ Every day we have something that happens that is just very surreal for us.”
It’s that same passion for what they’re doing that helps the band whip up high energy onstage and in the crowd. Kinnon says it’s a mix between a true love of performing and a desire to give fans an outlet.
For aspiring Warpers out there, Kinnon says that chasing viral moments won’t help you grow as artists. Instead, it’s the tough shows or embarrassing moments that help artists find themselves and their community much quicker.
“Pick up a guitar, get out, play shows. Be kind, be willing to learn and it’ll come. What you’re looking for will come if you just put your head down and keep grinding, keep learning, keep being kind. That’s all you can really do. And make music you’re excited to make.”
Adam Turla has always possessed an eye for spotting hidden signs in life.
There were signs as a college student at Indiana University that he should take his gothic-country outfit Murder by Death seriously, and that there could be a future beyond playing shows at pizza parlors and basements.
“You get a lot of little signals,” Murder by Death’s frontman tells Orlando Weekly. “It could be something as small as playing a basement show and we got our little CDs out and everybody in that room buys a CD. Or having a show where people were engaged and paying attention.”
Turla saw the signs that he could take the guitar gifted to him from a garage sale, and go pretty damned far with it. He is also cognizant enough to recognize the signs that the show is over.
After playing thousands of gigs and releasing nine studio albums, the show is indeed over for Murder by Death. Their current tour, which heads to Orlando’s Social on Tuesday, is the band’s last. The seeds for closing up shop were planted back during the early days of the COVID pandemic in 2020.
“We were on the biggest tour we ever had and then one day we were driving 16 hours home and had no future in sight. No unemployment and no help was on the way. It was kind of an eye-opener,” says Turla.
“But also I realized I was in a state of feast or famine my entire adult life. I was either completely broke, waiting to go on tour or I just got home from tour and my body is destroyed.”
The band will still play their annual Cave Shows in Tennessee, but will stop touring permanently. Turla recognizes the way the industry has changed for the worse since Murder by Death started two decades ago, in particular thanks to Spotify.
“My instinct is to say that the music industry is worse than when we started,” explains Turla. “I feel like there are more predators out there 1762400650 like Spotify. There are people trying to take our intellectual property. The music industry has always had predators.”
One of the ways that Murder by Death has gotten ahead of the game is self-funding their albums via Kickstarter. The band started using Kickstarter as a vehicle for fundraising back in 2012.
One of the albums that was funded in this manner is their latest, Egg & Dart, released this past summer. The album is focused on something that Murder by Death have been saying a lot of these past few months: goodbyes. Whether saying goodbye to a relationship, or goodbye to consuming mainstream news, the band says farewell in many different ways on Egg & Dart.
They recorded the album in Los Angeles, around the time wildfires were ravaging the city. The setting of the recording of Egg & Dart still weighs on Turla’s mind; he plans on spending time volunteering with disaster relief after the tour is wrapped.
“We went to Los Angeles to record and right around the same time [were] the wildfires in Malibu and Altadena,” remembers Turla. “Our studio was less than five miles from Altadena, and it was a wild time to be there. We had masks on outside and there were windstorms that made it worse. There were wild animals like coyotes, foxes and bears that were fleeing Altadena and you would see them in the hillside. … The whole community stepped up, and it was cool to see the way people were engaging, whether collecting clothing or goods.”
Sometimes saying goodbye means having the freedom to be your truest self. For Murder by Death, growing, evolving and, yes, aging together has allowed the band to do things musically that they couldn’t when they were younger. Egg & Dart pushes at those previous limits.
“With the last couple of records one of the things I’ve had fun doing is trying to get into the headspace of myself in my teens or 20s,” says Turla. “Trying to go back and think about what if I write a song in my 40s that I would have loved to have written in my teens or 20s that I wasn’t as experienced to write back then. I have written certain songs trying to go back and reflect on what I would have to have gotten done that I couldn’t then.”
Lately we’ve seen bands try to relive past glories and reunite for tours. Bands that Murder by Death have worked with musically or toured with, such as My Chemical Romance and Minus the Bear, have reunited recently for reunion shows. But Turla is adamant (at the moment) that we won’t be seeing a Murder by Death reunion tour at the Social in 2035.
“When you do a farewell tour you are ending an era, even if you are a band that intends to come back. We don’t plan on touring again,” he says. “We might play some more shows down the line, but aren’t going to be a band that plays 26 shows in 30 days. The intention is not to do that again.”
With that in mind, Murder by Death are taking it all in on this last ride, and are excited to play the Social one more time.
“We would play at Will’s Pub and the Social once or twice a year back in the day,” says Turla. “I remember one time in 2006 we did this two-night stand at the Social with Lucero and it was this wild tour where we were up all night partying really hard every night. It was a different time, but it was really fun. Whenever we go to Florida we try to go to the ocean or try to go walk on the beach. We try to engage in nature in some way because there’s a great natural element to Florida.”
(Murder by Death with BJ Barham, 6 p.m. Tuesday, Nov. 11, The Social, 46 N. Orange Ave., foundation-presents.com, $35)
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Plus everything else premiering on Netflix, Prime Video, Hulu, Peacock and Disney+ this week
Never anywhere has it ever been easy to be trans, but these are especially hostile times.
It’s enough to make anyone on the wrong end of it lose their shit a little. That trial and angst powers the darkwave songs of Orlando trans artist Crimesididntcommit, who’ll be celebrating her new album, Made to Fade, this weekend with a release show alongside alternative electronic acts Kaiju Bride, Alienobserver, Fisherpriceguillotine and DJ Rocky Black. Come dance it out.
7:30 p.m. Friday, Nov. 7, Stardust Video & Coffee, $8-$10.
It’s been a long time coming, but Jack’s Mannequin finally made it to Orlando on their reunion tour — and the city showed up. The show sold out the day tickets went on sale, and from the moment Andrew McMahon sat at the piano and hit the first notes of “Holiday From Real,” the night became one big rush of nostalgia.
McMahon and the band tore through all three albums, blending favorites like “Bruised,” “The Mixed Tape,” “Dark Blue” and “The Resolution,” along with deeper cuts like “Cellphone” and “Amelia Jean.” It felt less like a concert and more like a shared memory, 20 songs of collective emotion, dancing and impassioned sing-alongs.
Opener Hellogoodbye set the tone for the night and even surprised fans by announcing their return to Orlando next year for the Zombies! Aliens! Vampires! Dinosaurs! 20th anniversary tour.
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Louche post-punk outfit French Police (actually from Chicago, and deffo not cops) are out on a two-month U.S. tour that swoops into Orlando this week. The exact date is the day after Halloween, noted here for those of you who need one last fix of Spooky Season stimulation before it’s all Mariah Carey Xmas jingle-jangle all the time.
The quartet released their newest single, “Libra,” just ahead of the tour, and it’s got a welcome lithe sensuality, in contrast to many of their peers’ leaden dourness. French Police understands, like Sisters of Mercy, you need some boogie with your brooding.
So come surrender yourself to the proper authorities.
6 p.m. Saturday, Nov. 1, The Social, 54 N. Orange Ave., foundation-presents.com, $22.
This bill is a tight capture of two good young bands on the up.
With taut songs that pack punch, kick and hooks galore, San Diego headliners Sun Room are a raggedly perfect merge of surf and garage that rocks like The Strokes partying with FIDLAR.
Baton Rouge indie-rock openers The Bends also bring the grit and concision, only with some Southern heat and drawl like a scrappier Kings of Leon.
Together, they’re a strapping double shot of bands who know how to deliver the goods with just the right amount of muss but zero fuss.
Nick Dittmeier & the Sawdusters are an Indiana act that’s “alt-country” primarily in the sense that they’re more real country than the pap most people believe is country music nowadays.
No goofball rap or pop corn here, just some hard twang, rock thump and touches of 1970s outlaw country. Hallelujah.
Orlando was introduced to the leaders of the new school of heavy music when Chat Pile and Fleshwater ranged through a packed Beacham on Wednesday night. Matt Keller Lehman saw the carnage up close and personal.
Hardy concertgoers packed in to Will’s Pub on Monday night for a veritable mini-fest of punk bands from around the world. For this 10th edition of the now-venerable showcase Foreign Dissent, the crowd was treated to Germinar (Chile), Small State (Germany), Swear (Italy), LEXT (Japan), Toodles and the Hectic Pity (England), Back Teeth (England), Descartes A Kant (Mexico), Harker (England), Modern Shakes (England) and Sunliner (England). Jim Leatherman’s photos from the hectic night reflect that running order, if you’re looking to play who’s who.
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The boys are back in town and ready to perform not one, but two nights at the Kia Center as part of their reunion “JONAS20 Greetings From Your Hometown” tour.
This tour marks a huge milestone in their career, as after 20 years of various ups and downs, the brothers reconvened and released a new album, Greetings From Your Hometown. There will be familiar hits, new songs and even solo interludes (bathroom break?) from the three siblings.
Fan demand led to another night being added, so the setlists will likely be even more expansive. Opening the show is The All-American Rejects, but past shows have revealed the brothers’ knack for bringing out nostalgia-riffic surprise guests as well.
7:30 p.m. Sunday-Monday, Oct. 26-27, Kia Center, 400 W. Church St., kiacenter.com, $94-$464.
