YUNGBLUD at The Greek Theatre

Seeing YUNGBLUD’s sold-out show Friday at the Greek Theater made me realize how important family, community, and human connection really are. 

That feeling started when the opening band, The Warning, came out and instantly caught my attention. At first, they just seemed unbelievably in sync. Every drumbeat, every guitar riff, every pause felt perfectly timed down to the millisecond, yet somehow effortless at the same time. I couldn’t figure out why until Daniella Villarreal introduced herself along with the other members, Paulina and Alejandra, and I realized they were sisters. 

Suddenly, everything clicked

They’ve been performing together for over 13 years, starting as a small cover band from Monterrey, Mexico, after their cover of Metallica’s “Enter Sandman” went viral. Now they’re touring arenas around the world. Watching them felt like watching a sibling connection come to life. They were peaceful yet chaotic, intense yet completely connected. And honestly, that’s what siblings are. There’s arguing, forgiveness, chaos, and love all mixed together. Every loud drumbeat almost felt symbolic, like every past argument floating away into the air while they created something beautiful together. 

It only felt fitting that my older brother was there with me. 

As the loud rock music filled the arena, I started noticing something quieter underneath it all. As I looked around, I realized how many families were there together. Parents with kids, siblings, friends with their arms around each other. For a generation constantly glued to phones, this felt different. This was the only concert I’ve been to where I saw more people cheering together than on their phones recording. People crave real community now more than ever. Everyone was actually living in the moment instead of watching it through a screen. Music was bringing people together in real life. 

Then it was finally time for YUNGBLUD to come out


Cred. Tom Pallant

Before he even stepped on stage, the word “hello” appeared across the screens in multiple languages. It instantly made the entire arena feel welcoming, like no matter what your background, everyone belonged there that night. We were all there for the same reason: to let go for a few hours and just feel alive while jamming out to some rock n roll. 

Then, suddenly, confetti exploded through the crowd. 

It felt like all of our worries were being thrown into the air alongside it. For a second, nothing else mattered besides just being there in the moment. 

And once he hit the stage, the energy completely exploded. 

Besides making amazing music, he is one heck of a performer. At one point, he randomly jumped off the stage and started climbing the arena handrails while yelling, “ARE YOU MOTHERF***ERS READY?!” The crowd went insane, everyone cheering, some even holding their breaths… Hoping he didn’t fall. Eventually, he ended up standing on a chair in the middle of the crowd, continuing to scream. From that moment on, I knew this concert was going to be unlike anything else. 

Cred. Tom Pallant

When he started performing “Lowlife,” the entire arena loosened up even more. Everyone screamed the “La-La-La” lyrics together, and for the first time, I fully looked around the crowd and realized there wasn’t a single empty seat in the place. I really tried to find one for a good minute, but I couldn’t. Thousands of people from all over Los Angeles had come together for this moment. 

One of the most emotional moments of the night came when YUNGBLUD dedicated Black Sabbath’s “Changes” to his late mentor and friend, Ozzy Osbourne. Before starting the song, he told us we needed to sing loud enough for Ozzy to hear us from heaven, especially because Ozzy’s family was in the audience.  As soon as the crowd heard this, they instantly understood the assignment. This is one of my favorite songs, so I was screaming at the top of my lungs.  Everyone sang together like one giant family. You could hear the raw emotion in YUNGBLUD’s voice during that performance, and honestly, it gave me chills

Of course, in true YUNGBLUD fashion, he made the crowd stick out their tongues. My brother and I doing that together reminded me of when we were little kids. YUNGBLUD even started calling out people who refused to do it, projecting them on the giant screen until they finally gave in. The entire arena was dying laughing. At one point, the cameraman showed this one kid absolutely rocking out with his tongue out, throwing devil horns, and headbanging so hard that it caught YUNGBLUD’s attention enough that he not only brought him on stage, but he put him on his shoulders. I’ve never seen an artist interact with fans so personally before. 

But beyond the chaos and fun, what made this concert really special during Mental Health Awareness Month was how openly YUNGBLUD talked about mental health. 

Cred. Tom Pallant

When he performed “The Funeral” and the crowd screamed, “I hate myself, but that’s alright,” it didn’t feel hopeless. It felt real. YUNGBLUD has always been open about his own struggles with intrusive thoughts and insecurity, and instead of pretending those feelings don’t exist, he talks about learning how to live alongside them without letting them completely take over his life. I think that honesty matters a lot right now because social media makes it seem like everyone else has everything figured out when they really don’t. He serves as a reminder that even successful artists struggle with their mental health.  

He constantly reminds fans that they are not alone, and he backs those words up with action. He has worked with organizations like Mind, where he pledged to donate £1 (up to £25,000) split between Mind and Sound Mind Live for every use of the “Breakdown” CapCut/TikTok template. He continues encouraging open conversations about mental health instead of avoiding them. 

One of my favorite moments of the entire night was when he told everyone to turn to the strangers next to them and say, “Hello motherf***er,” and then, “I love you.” It sounds ridiculous, but in that moment, it actually felt genuine. For a few seconds, thousands of strangers became one giant family. 

The concert ended with “Zombie,” a song inspired by watching his grandmother struggle with alcoholism and slowly losing herself. The song captures something so many people are scared to admit: the fear of becoming a burden, the fear of appearing weak, and the universal feeling that you have to go through your darkest moments alone. But standing in that crowd, surrounded by thousands of other people screaming those lyrics together, I didn’t feel alone at all. 

Cred. Tom Pallant

That’s what made this concert so powerful to me. 

In a world where social media usually only shows people’s happiest moments, YUNGBLUD doesn’t run away from the darker emotions. He dives directly into them. He talks about grief, insecurity, loneliness, anxiety, and self-hatred openly instead of hiding them. And I think that’s exactly why so many people connect with him so deeply. 

By the end of the night, there had been screaming, laughing, crying, and complete chaos. But more importantly, I walked away realizing something I think a lot of people need to hear during Mental Health Awareness Month: 

No matter how alone you feel sometimes, you never truly are


Hit Parader #1: Yungblud Edition

October 2025 — $12.99

YUNGBLUD is bringing the rock star back to rock. At just 27, the British firebrand stunned 45,000 fans and the world at Ozzy Osbourne’s farewell show with a jaw-dropping, emotional cover of “Changes.” Critics and legends alike are calling it one of the greatest live performances of the past 25 years. In a genre starved…

Coachella’s Rowdy Sister: Stagecoach Festival Reviewed

The cowboy-boots-sporting, rowdy sister of fellow Goldenvoice desert festival Coachella, Stagecoach has long been the toast of the country music live experience, set apart by what Stacy Vee, Executive Vice President at Goldenvoice/AEG, who has been booking the festival since 2015, calls a “California sound.” Stagecoach is known for its immersive three-day experience and genre-spanning spunk, with this year marking nearly 20 years of the evolving festival, the 2026 lineup dancing between worlds of country, Americana, rock ‘n roll, EDM, and rap music. 

Photo by Faith Nguyen

On day one, I found myself in the Toyota Music Den for Noah Cyrus, an artist that reflects that Stagecoach soft-borders ethos, having found her way to country music via a few genre detours. Impressed by her surprise guest performance with Midland last year for a glimmering performance of “Put The Hurt On Me” at the Mane Stage, I knew I couldn’t miss her set this year. In 2025, I’d heard rumblings of Cyrus’ intention to pivot to country music, but it was her beaming smile and tangible joy on stage with Midland that made me believe it. Her gentle, Southern belle tone buoyed the track in such a way that I even preferred it over the trio’s studio version, and to see her make her bona fide Stagecoach debut with a soaring set all her own Friday evening of the festival, with such sincerity and unmistakable gratitude, made clear just how dedicated she is to making her mark as a country artist.

After missing Counting Crows’ set (Yes, I’m still heartbroken I wasn’t able to sha-la-la-la live among my fellow “Mr. Jones” devotees), I found respite at the Mustang Stage for The Red Clay Strays. Singer Brandon Coleman dresses like, sounds like, and even holds his axe: a custom, 1950s cigar box-inspired guitar, like a time traveler. I’ve never before seen a singer with such unshakable, ‘holy-spirit’ self-assuredness, to the point that his crowd commentary between songs felt not unlike a sermon. Coleman is a vocal advocate for mental health, and shortly before performing a fiery, choral version of “Devil In My Ear,” he offered a message of hope, reminding the audience that support is never far. Apart from the band’s indisputable ability to spellbind musically, I found myself most struck by the endearing contrast that such an old-fashioned appearing singer has such modern empathy.

Photo by Faith Nguyen

By far and away, the most electric moment of day one was the end of Dan + Shay’s Palomino Stage performance, where simply teasing the beginning of “Tequila” ignited the crowd into the loudest call-and-response of the weekend. Fans were transfixed, at Dan + Shay’s will, and it was obvious that the two of them were just as electrified as the crowd in one of those rare moments where an artist and an audience enter symmetry, allowing for the mystic to materialize in the space between them.

Despite the high winds lifting relentless dirt and hay in the air on day two, it all fell away for me during Teddy Swims’ evening set at the Mane Stage. As a ‘70s and ‘80s zealot, Teddy bringing out David Lee Roth to duet “Jump” by Van Halen was a major highlight for me (especially considering Roth’s signature rockstar outfit, as if no time had passed since 1983). Teddy closed his set with his mega hit “Lose Control,” his timeless, rich tone reverberating with the winds, somehow sweeter live than on record.

Goldenvoice is known for its unparalleled skill in curating festivals, made most clear by their remarkably intentional marketing that extends beyond pre-promotion. Stagecoach, in particular, has a lengthy history of booking acts in relation to their upcoming releases and tours, allowing the festival itself to uplift an artist. During Charles Wesley Godwin’s
set, shortly after he brought out Willow Avalon, he announced that he had a new single coming out soon, called “Better That Way,” featuring Luke Combs. Godwin then revealed that the Stagecoach festival speakers were playing the studio version all weekend, despite it being unreleased.

Photo by Nathan Zucker

Similarly, later in the night, Gavin Adcock introduced his upcoming single “Wannabe” by triumphantly announcing to the crowd, “There’s no better place to play a song live for the first time than Stagecoach!”

Both moves by both artists drive listenership, interest, and presaves in a way that Godwin and Adcock would otherwise not have had, had Stagecoach not coordinated booking with their releases. In both cases, Stagecoach was the only place on earth you could hear either unreleased song that day. It’s strategic, marketing-arm moves like this that set Goldenvoice and Stagecoach apart, and keep the festivals and their chosen artists growing, year after year.

In the history of Stagecoach, the festival had never been forced to evacuate until Saturday night. At Gavin Adcock’s set, the band had just blazed through the first-ever live performance of “Wannabe,” when suddenly his mic was cut off. Adcock and Co. attempted to go on, but soon the screens were taken over by emergency notices, and beers and food were being thrown on stage like a disgruntled crowd reception in the ‘70s. It felt like I’d stepped back in time again.

However, the swiftness with which Goldenvoice worked to keep attendees safe was anything but vintage. The festival managed to fully evacuate for about two hours, reopen, and, sunshine woman, headliner Lainey Wilson, still performed, as did late-night star Pitbull — I remember thinking what an impressive turnaround; unprecedented and unheard of at this scale.

As the sun set on day three, Third Eye Blind took the Mustang Stage. Following a boisterous live version of “Jumper,” the band fell quiet as they transitioned to the next song; guitarist Kryz Reid playing a stray, quick, two-chord, all-too-familiar combo. Excitedly having recognized the chords, immediately I turned to my friends, yelling, “ARE THEY ABOUT TO PLAY ‘HEROES’ BY DAVID BOWIE?!” My volume garnering the attention of strangers, all of them soon facing me instead of the band. When Third Eye Blind indeed started playing “Heroes,” all stared in disbelief, many clapping and throwing a thumbs up my way. Now, one of my favorite live Bowie covers, singer Stephan Jenkins’ own reverence for the Starman peaked when he adoringly belted “and we kissed, as though nothing could fall,” covered in golden desert afterglow.

Photo by Julian Bajsel

As of this weekend, Post Malone is now, deservedly, the first-ever artist to headline both Coachella and Stagecoach. Those who know little about his career might see his country transition as a surprise or cash-grab to go after trends, but Austin Post from Texas has dreamt of a career in country since he was posting Bob Dylan covers on YouTube at age 17. His successful pivot from rap to country with such resplendence is not achieved without his stellar band, who expertly reimagine his earlier hits like “Rockstar” and “Circles” for country-leaning live shows; the former transforming completely to rock ‘n roll by way of menacing electric guitar work (courtesy of guitarist Justin Richards), bolstering the chorus. Halfway through his set, shivering underneath a kind stranger’s jacket, I was awed as Post Malone honored late country icon Toby Keith with “Courtesy of the Red, White and Blue,” a choice that brought many attendees around me to tears. If there were any doubt in a sea of pure country fans of a ‘rapper’ on stage, in that moment, Post Malone proved himself true (red, white, and) blue.

As Goldenvoice/AEG Executive Vice President Stacy Vee has said, Stagecoach is about the people. From the crowd itself, full of people that actually say “excuse me” as they pass, and strangers who would offer a shivering girl their jacket, to the way the festival is booked and marketed, where lesser-known acts are given a chance, believed in, and later go on to return, playing the Mane Stage — their aim is true, and masterfully attained, even in chaos.