Mon, Nov 16
Gary Numan
Two early singles wrote the instruction manual for most of modern electronic music, and the man who made them refused to spend the next four decades playing them politely to seated crowds. He went the other direction entirely. Darker, heavier, louder, and somehow more urgent than the material that made his name in the first place.
The live show now is a pummeling, industrial-strength thing — part victory lap for a synth pioneer, part apocalyptic sermon delivered at volume. It pulls a strange and wonderful crowd with it: original new romantics who were there the first time, standing shoulder to shoulder with black-clad kids who arrived by way of Nine Inch Nails and never left.
The Fonda in Hollywood is the right size to feel all of it hit the back wall and come back at you.
Wear black. Bring the friend who insists synth music cannot be heavy, and stand where you can watch their face.
Two early singles wrote the instruction manual for most of modern electronic music, and the man who made them refused to spend the next four decades playing them politely to seated crowds. He went the other direction entirely. Darker, heavier, louder, and somehow more urgent than the material that made his name in the first place.
The live show now is a pummeling, industrial-strength thing — part victory lap for a synth pioneer, part apocalyptic sermon delivered at volume. It pulls a strange and wonderful crowd with it: original new romantics who were there the first time, standing shoulder to shoulder with black-clad kids who arrived by way of Nine Inch Nails and never left.
The Fonda in Hollywood is the right size to feel all of it hit the back wall and come back at you.
Wear black. Bring the friend who insists synth music cannot be heavy, and stand where you can watch their face.
The live show now is a pummeling, industrial-strength thing — part victory lap for a synth pioneer, part apocalyptic sermon delivered at volume. It pulls a strange and wonderful crowd with it: original new romantics who were there the first time, standing shoulder to shoulder with black-clad kids who arrived by way of Nine Inch Nails and never left.
The Fonda in Hollywood is the right size to feel all of it hit the back wall and come back at you.
Wear black. Bring the friend who insists synth music cannot be heavy, and stand where you can watch their face.
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Gary Numan
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Monday, November 16, 2026
8:00 PM PST – 10:30 PM PST
$45+
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Two early singles wrote the instruction manual for most of modern electronic music, and the man who made them refused to spend the next four decades playing them politely to seated crowds. He went the other direction entirely. Darker, heavier, louder, and somehow more urgent than the material that made his name in the first place.
The live show now is a pummeling, industrial-strength thing — part victory lap for a synth pioneer, part apocalyptic sermon delivered at volume. It pulls a strange and wonderful crowd with it: original new romantics who were there the first time, standing shoulder to shoulder with black-clad kids who arrived by way of Nine Inch Nails and never left.
The Fonda in Hollywood is the right size to feel all of it hit the back wall and come back at you.
Wear black. Bring the friend who insists synth music cannot be heavy, and stand where you can watch their face.
The live show now is a pummeling, industrial-strength thing — part victory lap for a synth pioneer, part apocalyptic sermon delivered at volume. It pulls a strange and wonderful crowd with it: original new romantics who were there the first time, standing shoulder to shoulder with black-clad kids who arrived by way of Nine Inch Nails and never left.
The Fonda in Hollywood is the right size to feel all of it hit the back wall and come back at you.
Wear black. Bring the friend who insists synth music cannot be heavy, and stand where you can watch their face.
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