Pennywise @ HISTORY

Toronto, Canada — September 27, 2026

Pennywise Live Review – Eastern North American Fall 2026 Tour

Toronto was the only Canadian stop on Pennywise’s 10-date Eastern North American fall tour, bringing an incredible bill of old-school punk and hardcore veterans to HISTORY on September 27. The lineup featured Murphy’s Law, H₂O and Circle Jerks supporting Pennywise, making this one of those shows where the supporting acts alone were worth the price of admission.

After Pennywise’s appearance at the 2026 Vans Warped Tour in Montréal earlier in August, Canadian fans were once again treated to a full-length Pennywise club show — this time with a much longer set and a packed room ready to sing along.  

Murphy’s Law

I arrived super early, mostly out of pure excitement. First up was Murphy’s Law, and they wasted no time connecting with the crowd.

Vocalist Jimmy Drescher jumped straight off the stage and into the pit, singing alongside the fans. At one point, he even cracked open a six-pack of beer, making the whole thing feel less like a traditional opening set and more like a private punk-rock party that just happened to be taking place in the middle of HISTORY.

It immediately got the crowd engaged, and as the venue slowly filled in, the energy continued to build.

H₂O

Next up was H₂O, a band that has been an important part of the punk and hardcore scene since the 1990s. I remember seeing their name on countless flyers for punk shows in Montréal back in the day, so seeing them on this bill was a bit of a nostalgic moment.

One thing that immediately caught my attention was the drummer. Behind the kit was a much younger face, and vocalist Toby Morse eventually explained that the drummer was his son, Maximus Henry Morse, who was 23.

I have to say, I was really impressed with him. He played with confidence and kept up with the band's energetic set without missing a beat.

There was also a funny moment when Toby asked the crowd who had bought H₂O's CD in 1996. Quite a few hands went up. Then he asked who was born in 1996 — and suddenly a whole new section of the audience had their hands in the air.

Toby kept going, asking about increasingly older birth years. By the time he reached 1960, there were still a few hands in the air. It was a great reminder of just how many generations of punk fans were represented in the room.

Circle Jerks

By this point, HISTORY was looking pretty full and ready to take on Circle Jerks.

Formed in Hermosa Beach, California, in 1979, Circle Jerks are one of the defining bands of early American hardcore punk. Fronted by founding member Keith Morris, the band helped establish the fast, raw and chaotic sound that would become a blueprint for hardcore punk. Their landmark 1980 debut, Group Sex, remains one of the genre's essential records.

More than four decades later, Morris is still delivering that same unmistakable intensity onstage. For this tour, he was joined by fellow founding member Greg Hetson on guitar, longtime bassist Zander Schloss and drummer Joey Castillo.

This was actually my first time seeing Circle Jerks live, and it was a pretty special one.

Morris also mentioned from the stage that it was his birthday — and that he had just turned 71.

Seventy-one!

Watching him tear through a Circle Jerks set with that much energy was one of the highlights of the evening. For a band with this much history behind it, there was nothing that felt like a museum piece about the performance. It was loud, fast and unapologetically punk.

Pennywise

Then came the moment everyone had been waiting for.

Pennywise.

The lights went down and vocalist Jim Lindberg walked onto the stage, cell phone in hand, filming the crowd while holding a cup in the other. He was wearing a black T-shirt featuring the words “Listen to Bad Brains,” an appropriate choice for a night deeply rooted in punk history.

From a visual standpoint, I couldn't help but appreciate the production. As a graphic designer, I've always loved the Pennywise logo, and seeing that iconic logo blown up across the giant backdrop was pretty spectacular. Combined with the red and blue lighting, it created a dark, energetic atmosphere that fit the band's music perfectly.

The set itself was essentially a crash course through Pennywise's history.

The band moved quickly through songs such as “Peaceful Day,” “My Own Country,” “Straight Ahead,” “Same Old Story,” “Violence Never Ending,” “The World,” “Homeless,” “Every Single Day,” “Pennywise,” “Fuck Authority,” “Unknown Road,” “Perfect People,” “Society,” “Broken,” “Alien” and “Living for Today.”

It was a particularly satisfying setlist for longtime fans because it leaned heavily into the band's classic material. Rather than focusing on newer songs, Pennywise went deep into the catalogue that established them as one of Southern California's defining melodic hardcore bands.

And, of course, there were some surprises.

The NOFX connection

I've been noticing a recurring theme lately: since NOFX retired from touring, a number of punk bands have been paying tribute to them by working some of their songs into their live sets.

Pennywise did exactly that in Toronto, working “Bob” and “Kill All the White Man” into the show.

Hearing those songs in a Pennywise set was a great nod to the band's longtime friendship with the NOFX camp. Jim also joked about the fact that Pennywise isn't giving up anytime soon and will continue playing music and touring.

For fans of this generation of punk, that's reassuring to hear.

Jim also mentioned that Pennywise had brought over members of the NOFX crew, joking that they were keeping them employed. It was a funny moment, but it also captured something bigger about the punk community: after decades of touring together, these bands have built a network that extends far beyond simply sharing stages.

Special guests and a massive finale

The surprises didn't end there.

At one point, Jim from Murphy's Law joined Jim Lindberg onstage for a duet, immediately sending the pit into another frenzy.

But the biggest surprise was saved for the finale.

As Randy Bradbury started playing “Bro Hymn,” the song that has become Pennywise's ultimate live anthem, the stage suddenly became packed with familiar faces.

Cone, formerly of Sum 41, stepped in on bass, while Ian D'Sa of Billy Talent joined to sing along with other friends and guests. What followed was exactly the kind of chaotic, communal punk-rock ending you hope for at a show like this.

The crowd sang along, the pit erupted and the stage filled with musicians celebrating the moment together.

And that's really what made this Pennywise show feel special.

It wasn't simply a band playing a collection of classic songs. It felt like a celebration of the punk community itself — musicians from different generations and different bands coming together, sharing the stage and having fun.

Final Thoughts

Pennywise's Toronto show was a night built around punk-rock history, but it never felt stuck in the past.

From Murphy's Law turning the opening set into a beer-fuelled party, to H₂O bringing another generation onto the stage, to Circle Jerks proving that hardcore energy doesn't come with an expiration date, the entire bill felt like a celebration of the scene.

Then Pennywise came out and delivered a set packed with classics, sing-alongs, surprise guests and enough energy to keep the HISTORY crowd moving until the very end.

And closing the night with “Bro Hymn,” surrounded by friends and fellow musicians, was the perfect ending.

Toronto may have been the only Canadian stop on this particular fall tour, but Pennywise certainly made it count

Never Mind The Bollocks- Sex Pistols feat. Frank Carter

Brings 50 Years of Punk To History, Toronto

Venue: History, Toronto, ON
Date: Monday, September 21, 2026
Support: Panic Shack

Controlled Anarchy 

Whenever a band returns without its original singer, people have an opinion. Everyone has an opinion, and everyone has a butthole. Ever since Frank Carter joined Steve Jones, Paul Cook, and Glen Matlock for the Sex Pistols' 50 Years of Punktour, fans have come to fisticuffs over whether it should have been given a rebirth. Fair enough, but expecting four people to stay together for fifty years without falling out or wanting to claw each other's eyes out isn't exactly realistic. Countless bands have fewer members and still tour. Take the show for what it is: three members of one of the U.K. punk's most important punk bands playing the music they helped create alongside a frontman who clearly loves and respects it.

Carter never tries to be John Lydon, and that's exactly why it works. The former Gallows and Frank Carter & the Rattlesnakes singer attacks every song with his own personality while repeatedly making it clear what an honour it is to share the stage with Jones, Cook, and Matlock. Between songs, he spoke about finally getting to play a proper club show after a run of shortened festival appearances, then backed it up by diving headfirst into the crowd during "God Save the Queen," setting off one of the night's biggest circle pits. Later he called for a women-only pit, telling the guys to "stay the fuck out" and let the women mosh!

The band were locked  and loaded from the opening notes of "Holidays in the Sun." Steve Jones' thick, unmistakable guitar tone remains the backbone of these songs, while Paul Cook's drumming was as solid and driving as ever. Glen Matlock's melodic bass playing, often overshadowed by the band's mythology, tied everything together. Who cares if he liked The Beatles!

Cardiff, Wales' Panic Shack opened the night, showing exactly why they've been building so much buzz as media darlings. Toronto fans may remember their June 16, 2026 headlining show at the Hard Luck Bar, which was moved from The Baby G after quickly outgrowing the original venue. Comparisons to an early Amyl and the Sniffers—or even Eve Libertine of Crass might seem a little too easy, but the raw energy and punk snarl are hard to ignore. Panic Shack never comes across as a band trying to be anyone else. Clearly they are having “fun, fun fun in the fluffy chair, flame up the herb, wolf down the beer”.  Nearing the end of one song, all five members lined up to form a human centipede(try it, you’ll like it) across the front of the stage. For a moment it looked like the song was over before they suddenly ripped back into it, catching the audience completely off guard. It perfectly captured the band's playful chemistry and refusal to take themselves too seriously, something they've said has always been central to Panic Shack. By the time they closed with "Pockets," they had won over plenty of people who had arrived primarily to see the Sex Pistols. 

Old Punks, New Blood, and a Half-Eaten Clif Bar

The audience reflected just how far these songs have travelled over the past five decades. Yes, there was full intellectual debate on the evolution of Punk Rock and how far it has come or regressed. You heard the adage " Punk is Dad." Original punks in well-worn leather jackets and multi coloured hair stood or barely stood beside younger sweaty fans who had only ever experienced the Sex Pistols through records, documentaries, or stories from older relatives (looking at your Grandpa!). During the quieter moments, diehards shouted requests for deeper cuts from The Great Rock 'n' Roll Swindle, including one call for "Belsen Was a Gas" and Silly Thing. 

Behind the band, large video screens acted as a backdrop with vintage and current visuals, while stacks of Marshall cabinets dressed in Sex Pistols artwork framed the stage. It looked big, like a big set of Bollocks without feeling overproduced, leaving the focus where it belonged—on the music. 

Jones, Cook, and Matlock were generous throughout the night, tossing picks, drumsticks, and setlists into the crowd, and there was no exchange of gob by the audience witnessed at the two previous Pistols reunions. Somehow I ended up catching Steve Jones' half-eaten Clif Bar after he catapulted it into the audience. It's now one of the stranger concert souvenirs I've brought home, and if science ever needs it, apparently, it contains enough Jones DNA to clone another guitarist. Oh no, one Jonesey is enough or is it ?!

After a furious 14-song set, there wasn't much hanging around. The band had an overnight trip to Montreal ahead of them, and the bus wasn't going to wait on their destination to “Nowhere”. Jones still found time to sign a few items near the loading dock in the Boredom Bus before quietly calling it a night and taking some poor punter's pen with him. LOL. The cat burglar strikes again.

Back in 1976, the Sex Pistols helped strip rock music back to its raw essentials, mixing pub rock, glam, and attitude into something that unsettled just about everyone but for the indoctrinated. Fifty years later, nobody is calling the police or trying to shut the band down or kick them off the Thames. The outrage has long since faded, but the songs haven't. Hearing them performed by the musicians who helped create them was more than enough reason for a sold-out History crowd to celebrate another night of punk history. It’s only rock and roll, and I like it. We mean it maaaaannn.

Full Setlists

Panic Shack

1. Gok Wan
2. Thelma & Louise
3. Jiu Jits You
4. Girl Band Starter Pack
5. Grin & Bear It
6. The Ick
7. Tit School
8. Who's Got My Lighter?
9. Pockets

Sex Pistols feat. Frank Carter

1. Holidays in the Sun
2. Seventeen
3. New York
4. Pretty Vacant
5. Bodies
6. (I'm Not Your) Steppin' Stone (Paul Revere & the Raiders cover)
7. Liar (dedicated to Panic Shack)
8. God Save the Queen
9. No Fun (The Stooges cover – with band introductions)
10. No Feelings
11. Problems
12. My Way (Paul Anka / Sid Vicious version)
13. E.M.I.
14. Anarchy in the U.K.

https://www.sexpistolsofficial.com/

https://panicshack.bandcamp.com/album/panic-shack

Social Distortion, Descendents, The Chats

History (Toronto) – September 14, 2026

The crowd at History showed just how much punk’s demographic has shifted over the years. The room was clearly split: veterans who grew up on Social Distortion and Descendents stood shoulder-to-shoulder with younger kids who got into the genre through The Chats—a weird contrast against History’s polished, venue-security-heavy atmosphere.

The Chats

The Chats wasted no time, ripping through a 14-song set in under 30 minutes. Songs like “Billy Backwash’s Day,” “Panic Attack,” “6L GTR,” and “Ticket Inspector” came rapid-fire with almost zero breaths (asthma-prone patrons reaching for their puffers) between them, packing the band's usual pub-punk energy and blue-collar humour.

The biggest reaction of their set came when “Smoko” rolled right into “Pub Feed,” triggering a singalong with the indoctrinated. It’s a track that has taken on a life of its own over the last few years, complete with that bizarre cover by Australian kids' group The Wiggles (which I had the gulp-pleasure of seeing from a fifth-row vantage point).

Descendents

Descendents came out next with a 25-song run, starting with “Everything Sux,” “Hope,” and “I Don’t Want to Grow Up.”

Milo Aukerman remains the antithesis of a traditional frontman. Wearing a Descendents water bottle slung over his shoulder like a cross-body bag, he guzzled water between bursts while sprinting through short, fast cuts like “Coffee Mug.”

Even if a few old, balding heads were holding out for early songs like “Kabuki Girl” or “I’m Not a Loser,” tracks like “Suburban Home” and “Bikeage” carried the set easily. True to form, as soon as they wrapped up, Milo walked out near the side stage to hang out with punters, take pictures, and watch Social D’s set from the floor—breaking down the barrier between fan and performer in true punk fashion.

Social Distortion

Mike Ness took the stage with the presence and confidence you'd expect from someone who has spent over 40 years fronting the band.

Ness walked out wearing a black shirt, white pants and white shoes—a nod to Ian Dury’s “Sweet Gene Vincent” ("White face, black shirt / White socks, black shoes") that prompted a laugh from me for almost getting the formula right (and no, I didn’t inspect his socks even from my vantage point).

Between songs, Ness talked about his family ties to Canada, noting that his mother’s side goes back years in Nova Scotia. He joked about being an “expat” who might end up moving back North, offered a direct apology on behalf of his country for the current U.S. administration, threw in some political commentary directed across Lake Ontario, and dropped his usual reworked "Humpty Dumpty" rhyme: “...couldn't put that motherfucker back together again!”

Armed with his Gibson Les Paul Goldtop, Ness led the band through core tracks like “Mommy’s Little Monster,” “Prison Bound,” and “Story of My Life.” They closed out the night with a three-song encore of “Reach for the Sky,” “Dear Lover,” and “Don’t Drag Me Down.”

It was a solid three-generation lineup. The Chats brought raw Australian pub-rock, Descendents brought their hyper-caffeinated nerd-punk, and Social Distortion tied it together with their classic rockabilly roots rock and roll-punk mix. Even if venues today feel a lot cleaner than the dives these bands started in, the crowd reaction proved the music still connects the same way.

P.S. Mike Ness will pose for pictures with your dog.

Band Websites

• The Chats: Official Website

• Descendents: Official Website

• Social Distortion: Official Website

Weird Al Yankovic has been on his "Bigger and Weirder" Tour for over the past year hitting every major and minor US city on the map. This past weekend, he made his way to the outskirts of San Bernardino county in Thousand Palms playing the town's Acrisure Arena. An oasis of a town just before Coachella Valley. Joining the famed funny man, is sad clown crooner, Puddles Pity Party. Much like Weird Al, Puddles has built a career off taking popular songs and making them funny, all while performed in a full clown getup and face paint. He invites audience members on stage to partake in the fun during his "Who Would Like to Help the Clown" segments that involve him putting a bottle costume on the fan as he sings to them. 

Just before 8:30, the lights dimmed and an intro video for Weird Al began which presented Al as a giant King Kong like figure destroying a city. As the reel finished, Al's parody of Pharrell Williams' "Happy" known as "Tacky" started and a live stream of Yankovic making his way through the arena corridors singing rolled on the screen. Along his way, he crosses paths with Puddles that results with a pie in the clown's face. Before long, he was on the stage finishing out the tune to loud cheers. 

He continued with a number of originals like"Everything You Know is Wrong" from 1996's Bad Hair Day and "One More Minute" from Dare to Be Stupid that has the jokester meandering through the crowd singing to people, giving them sashes, and even a pair of heart patterned boxers thrown into a guest's face.

Following a short clip from Weird: The Al Yankovic Story, where he comes up with "Another One Rides the Bus," the show jumped up a notch. Longtime fans would start to notice cheerleaders taking the stage, the band in grungy outfits, and a janitor with mop in hand. Suddenly, the opening riff to "Smells Like Nirvana" began and there stood Weird Al fully clad in the late Kurt Cobain's iconic outfit from the "Smells Like Teen Spirit" video. The costumes would be a mainstay for the rest of the night. From Devo's notable yellow jumpsuits for "Dare to Be Stupid" to Michael Jackson's red "Beat It" jacket for Al's classic parody, "Eat It." Even went so far as to put on the entire fat suit for "Fat" while maintaining the videos choreography. During a medley that carried us through classics like "All About the Pentiums," "Ricky," "Canadian Idiot," and "Like a Surgeon," he went through a series of swift costume changes while on stage. 

As the night continued, he would switch between parodies and originals, like his theme song for the Captain Underpants movie and even his end credits song that makes little sense without having just seen his biopic. Towards the end of the set, he donned a full hip hop outfit for "White & Nerdy" that kicked off with Al rolling out from backstage on a segue. He finished out the set with fan favorite "Amish Paradise," with the entire band decked out in plain wear and bonnets.

When the time came for the encore, the band had changed into stormtrooper and Jedi outfits, and the dark lord of the Sith, Darth Vader was standing on stage. Weird Al came back out in his Jedi robes, and after a rendition of a joke song written with Michael Stipe entitled "We All Have Cell Phones," he kicked off his hit parody "The Saga Begins." The arena turned into one big sing-a-long. Weird Al kept the Star Wars theme going and ended the night with "Yoda" -- a hit parody of The Kinks' "Lola."

Weird Al is one of the best performers I've ever seen and his "Bigger and Weirder" Tour is about as extravagant as an artist that parodies songs could get. Not a single person in the audience wasn't smiling. So much thought went into the production of this show and it'd be shame to miss it. There are still many dates left, but the tour is on the back-end of the schedule. There's no telling how much longer Al will keep doing this type of production, so do yourself a favor and catch it if he comes through your town. 

"Punk is still very much alive and well... and more needed than ever." In LA, punks of all generations gathered at The Wiltern to witness pioneers and legends converge on stage for a rallying call to action and celebration and fun. Bikini Kill are a few days into their 2026 tour. For their pair of California dates, they were joined by Alice Bag and her band. With the lead up to these shows, Alice announced that these would be her last hurrah. 

Alice Bag had commented on the reason being due to getting old and the difficulties of performing these songs with the intensity they require, but her performance showed that she still has that spark inside. She tromped across the stage with the same wild-at-heart spirit she's had her entire career. Taking moments to approach the crowd and encourage the masses to speak with those around them slipping into fascist thinking and try to get them to understand the consequences of falling down such rabbit holes and to get them to change their views. 

Midway through the set, Alice invited Bratmobile's Allison Wolfe and Trap Girl's Drew Arriola Sands on stage for guest vocals on "77" and "Even." During "No Means No," she asked for the audience to join in to let anyone in the room that was victim of assault know they weren't alone. She rounded out the set with a series of Bags songs, closing with "Violence Girl." 

It was time for Bikini Kill and the crowd couldn't be more anxious to let themselves go. Before jumping right into the music, Kathleen Hanna took a moment to acknowledge the fundraiser they were running throughout the night with the help of CHIRLA (The Coalition for Humane Immigrant Rights). Before taking the stage, they had already amassed $5k and was hoping to reach 10k by the end of the night. Hanna held up a QR and promoted everyone to take out their phones and share the QR code. They have since hit $20k with Bikini Kill matching. With that, the band jumped right into "New Radio" and the floor erupted! However, as they made their way through their career spanning set, they took any spare moment to hold up the QR code. 

They bounced from their first couple of EPs like with tracks "This is Not a Test" and "Don't Need You" to their final release, Reject All American, with "Capri Pants" and "For Only." Hanna showed off her range from dancing freely across the stage yelling with her signature vocal style to crouching down and doing a deep guttural delivery. Throughout the night, Bikini Kill would switch up duties. With Hanna heading to bass, Kathi Wilcox moving to drums, so Tobi Vail could take over on vocals for tracks like "Hamster Baby" and "Tell Me So." They ended the night with of course, "Rebel Girl" and dedicated it to Alice Bag for her last show.

I wasn't there to see Bikini Kill in the 90's, but I can honestly say that it doesn't seem like time has got the best of them. This is every bit their "prime" as their first run and we're lucky to be alive at a time when Bikini Kill exists and are still performing. Its been one of the best shows I've seen this year. Go see them if they come through your city.