Four animated musicians who do not exist have somehow outlasted half the bands who do — and now they are bringing a mountain to Inglewood. Gorillaz play the Kia Forum on October 24, 2026, touring behind their ninth studio album with a show that collapses the line between concert, art installation, and fever dream. Damon Albarn and Jamie Hewlett's virtual band has spent two decades proving that a cartoon can headline an arena if the songs hit hard enough, and the live show has always been the proof — a full band translating what should be impossible into something that shakes the floor. Little Simz and Deltron 3030 open, which means the evening starts strong before it gets strange. The Kia Forum at 3900 West Manchester Boulevard in Inglewood holds 17,500 for concerts. Doors open at 7:30 PM. Tickets are available through Ticketmaster. If you have ever wanted to see a gorilla play bass in person, this is the closest you will get, and it will be enough.
Songs about specific American places written by somebody who has clearly never been to most of them create a peculiar kind of homesickness — for a country assembled out of sports statistics, half-remembered history and local news. This Queens duo has been doing that for a decade at a scale that stayed deliberately small, guitars recorded roughly, vocals delivered like someone talking fast because they might get interrupted. The details are the whole thing; almost every song contains a proper noun that sends people to look something up afterward. Live it is louder and looser than the recordings and the between-song talk is part of it. Highland Park's upstairs lodge, wood floors, a few hundred capacity. Music at 8:00 PM at 104 N Avenue 56, a Saturday. Bands this size survive on people making other people listen, and the room is a gathering of everyone who was successfully made to.
Oct 24 – Oct 25, 2026
Time Nightclub, 1875 Newport Blvd,…
Somebody in your life has a very strong opinion about a track released in 2002, and if you bring it up they will explain, at length, that it was either the beginning or the end of something. Twenty-four years later the argument is unresolved and the man who caused it is still touring.
Benny Benassi is one of the small number of producers whose work genuinely rerouted a genre — the filtered electro-house sound he helped define got absorbed so completely that people forget it had an author. He has a Grammy for a remix and a catalogue that spans from the original club records through the festival era and out the other side. Seeing him in a room of a few hundred rather than a field of thirty thousand is the version worth having.
Saturday the twenty-fourth, doors at ten, and the room in Costa Mesa is small enough to see his hands.
Oct 24 – Oct 25, 2026
Exchange LA, 618 S Spring St, Los …
Techno went hard again and the people most annoyed about it are the ones who spent the 2010s making it respectable. Good. A genre that stops frightening anybody has stopped doing its job.
Charlie Sparks is near the centre of that shift — the Berlin-adjacent, extremely fast, extremely loud strand that filled rooms across Europe and then arrived here with a young crowd who had never known the polite version. Lily Ardalan and Yonkers round out a bill with genuine depth rather than one headliner and two warm-ups. The marble hall downtown is the right scale: high ceilings, hard surfaces, nothing to soften it. Rooms like this are why the harder end of techno found an audience here at all — the music needs somewhere that can carry volume without turning to mud.
Saturday the twenty-fourth of October, ten until three, South Spring Street.
You used to go to shows. Then you had a kid, and the math stopped working — the babysitter, the 9 PM doors, the guilt either way. That trade is the ache this fixes, and it fixes it by refusing the premise. A live band plays the songs at real volume through the real PA, and the floor stays empty of chairs on purpose so that the children can move however they want during it. Nobody shushes anybody. Parents end up dancing harder than the kids, which everyone pretends not to notice. The format has run for years in rooms like this one and the unwritten rule is that you arrive early enough to claim floor space near the stage, because the front two rows are where the four-year-olds organize themselves into something resembling a pit. The Highland Park hall has a balcony for anyone who needs to sit down and watch it happen. Music at 11:30 AM, all ages, upstairs at 104 N Avenue 56. It runs most months with a different songbook, so the families who come once tend to come back.
The sets lean. Doorways narrow to points, windows are painted straight onto flats, shadows are brushed by hand onto the walls, and a hundred and six years on it still reads less like an old film than like somebody's actual nightmare, carefully transcribed. Conrad Veidt plays the somnambulist Cesare with a stillness that has been borrowed by every horror performance since, and the picture worked out most of what we now mean by a twist ending. The German crews who built those crooked walls were partly doing so because a collapsed postwar economy could not spare real timber or real light, which is how a budget shortfall hardened into the founding grammar of the genre. Watching it silent on a laptop is a wholly different act from sitting in a dark room while a musician plays to the picture in real time, choosing tempo against an audience they can hear breathing. Beverly Blvd, October 25, two in the afternoon.
Every day· Next Oct 25
Birch Aquarium at Scripps, 2300 Ex…
You know that feeling when the ocean goes dark and something starts to glow beneath the surface — not a trick, not a screen, just biology doing what it has done for millions of years? Your kid's face when they see bioluminescence for the first time is going to wreck you.
Birch Aquarium opens after dark for two nights only, and the whole place transforms into something between a science lab and a haunted tide pool. Live music from Billy Lee and the Swamp Critters drifts across the grounds while divers carve pumpkins underwater inside the tanks — the pumpkin guts float upward while kids press their faces to the glass. A costume parade winds through the exhibits. Trick-or-treating stations scatter across the aquarium grounds while the La Jolla cliffs disappear into fog behind you.
The hands-on slime station and fluorescence demos make this more than a walk-through. Kids get to touch, build, and ask every question they have been saving up. Adults get to remember what it felt like when the ocean was still pure magic and you did not need to understand it to be changed by it.
October 25–26, 6:00–8:30 PM. Birch Aquarium at Scripps, La Jolla.
Theatrical rock made by people who are obviously having a wonderful time is deeply unfashionable and completely undefeatable in a live room. This Arizona band writes songs with narrative arcs, key changes that should not work, and a horn part when a horn part is funny — the sort of thing that finds its audience through video games, animation communities, and the general internet rather than through radio. Their crowd is young, extremely online, and knows the words to material that never charted anywhere. Expect the room to handle whole sections unprompted. Sunday evening in an upstairs Masonic hall in Highland Park, wood floors, no seats. Music at 7:00 PM at 104 N Avenue 56. Fandoms built in Discord servers and comment sections are the ones most likely to turn a normal concert into something closer to a convention, and that is the atmosphere here.
Oct 25, 2026
$65+
Pechanga Resort Casino, 45000 Pech…
If your family is from the Levant, you already know that voice -- Assala Nasri has been one of the towering singers of the Arab world for more than thirty years, the kind of artist whose songs score weddings, heartbreaks, and long homesick nights across an entire diaspora. A US date is a rare event, and when it happens the Arab-American community drives from three states over to be in the room. That she is playing Temecula, of all places, means Southern California's Levantine families have a genuine reason to converge on the valley for one October night. Expect an audience that knows every word in Arabic and will sing them back to her. This is one of those shows where the crowd is half the experience. If this is your music, do not let it pass; if it isn't yet, prepare to be leveled.
A band that does not technically exist has outlasted most of the ones that do. Damon Albarn drew a cartoon, hid behind it for twenty-five years, and kept making records that hit harder than the real thing — Demon Days changed what a pop album could sound like, Plastic Beach changed what one was allowed to be about.
The support is the buried lede. Little Simz, the North London rapper who won the Mercury Prize and then carried on as though awards were beside the point. And Deltron 3030, Del the Funky Homosapien's dystopian hip-hop opera, which predicted the present back in 2000 and is still being caught up to.
So three separate congregations end up in one room: the art heads who know Jamie Hewlett's line work on sight, the hip-hop heads who understand what Deltron is, and everyone who has watched Simz become one of the best alive. Pechanga is a concrete slab with no frills and excellent sight lines, doors at 7:30 PM.
Send it to whoever played you Demon Days the first time.
Certain records were never really about romance so much as about being wanted with an intensity that felt slightly unsafe, and for a generation that record had four men from Charlotte on it in leather. Jodeci were the rougher answer to the smooth thing happening around them, and thirty-five years later the songs have not softened - they still sound like somebody begging. What makes an anniversary tour for this music worth going to is the crowd: grown people who will treat every intro like a personal announcement, and who are not remotely self-conscious about it. R&B nostalgia in Los Angeles fills rooms that critics stopped writing about decades ago, which is why this will not show up in the listings you read. Go with whoever you would not be embarrassed to be emotional in front of. Sunday the 25th of October at eight.
Sixty years of stage, and the voice still hits like a fist wrapped in velvet. Tom Jones has outlived every era that tried to define him—the Vegas years, the TV years, the ironic comeback, the sincere comeback—and what remains is an artist who simply refuses to stop being extraordinary. The Come Gather Round Tour brings him to the Greek Theatre on a Monday night in late October, when the canyon air is cool and the hillside seats feel like they belong to you. At 86, Jones has earned the right to sing whatever he wants, and what he wants is a mix that spans from 'It's Not Unusual' to the raw, unadorned later albums that made critics fall in love all over again. The Greek is the perfect room for it: open sky, intimate enough to hear breath between notes, and a crowd that came because they chose to, not because someone was filming. This is the show you take a parent to. This is the show where three generations sit together and none of them are pretending. Monday, October 26 at 8:00 PM at the Greek Theatre in Griffith Park. Bring someone who remembers when this voice first stopped them in their tracks.
Recording an album inside a grain silo, an abandoned church, or a nineteenth-century opera house is the kind of decision that sounds precious until you hear what the rooms did to the sound. This Canadian band has spent twenty years choosing buildings the way other people choose producers, and the results are records where the reverb is a real physical space rather than a plugin. Live that quality does not entirely transfer, so what you get instead is the songwriting stripped bare, which turns out to hold. The singer's voice is the fragile-sounding kind that never actually cracks. A Monday in an upstairs Masonic hall in Highland Park, with wood floors and high ceilings and a room that will go quiet, is about as close to the recording conditions as a tour can get. Music at 8:00 PM at 104 N Avenue 56. Monday audiences self-select down to the people who really meant it, which suits this music exactly.
Oct 26, 2026
$40.50
Belly Up, 143 S Cedros Ave, Solana…
After a hard year, some songs stop being songs and start being rope. You rarely know you needed one until a whole room is singing it back at you.
Michael Franti has been writing those for a long time, big-hearted and famously barefoot, and on this run he strips it all the way down to a trio. Acoustic, close, the festival anthems turned into something where you can actually hear every word. The Wheeland Brothers open, a Southern California band whose harmonies sound like the drive home from the beach.
The detail that tells you who he is: a dollar from every ticket goes to Do It For The Love, the nonprofit Franti started to bring live music to people facing serious illness and to veterans. The show you are standing in is, in a small way, part of somebody else's wish coming true.
Monday, October 26. Doors 7 p.m., show 8 p.m., 21+. Belly Up, 143 S. Cedros Ave, Solana Beach. $40.50 advance. Take the friend who needs a Monday to go differently, then ask them on the drive home who they would bring next time.
Oct 26, 2026
✨ New
$15-$18
Casbah, 2501 Kettner Blvd, San Die…
The best show you will see this month costs eighteen dollars and the headliner will probably be standing at the bar before the set, because at this size there is no backstage worth hiding in. Everett and Lundy are both early enough in it that the room is the point - a Monday night bill at the Casbah, which has been San Diego's proving ground since 1989 and which has the receipts to prove it: Nirvana played the old room, the White Stripes played it, and the booker has kept the same instinct for who is about to matter. Monday is the night the Casbah gives to the acts it believes in rather than the acts that sell, which is exactly why the regulars pay attention to Mondays. Twenty-one and over, doors at seven, music at eight, and the back patio by the airport flight path where you can hear the planes between songs. If you want to be the person who saw someone in a hundred-capacity room and said so later, this is how that happens. It is a Monday. You have nothing else on.
Oct 26 – Oct 27, 2026
Pappy & Harriet's, 53688 Pioneerto…
You did not know you were being taught what jazz sounded like. You were nine, it was after school, and the show about the kid with the football head had a soundtrack of walking bass and muted trumpet that nobody explained to you because it did not need explaining. Then you grew up and heard a Blue Note record and felt an odd familiarity you could not place. The composer who did that to you is playing this room, with a live combo, running the cues as actual arrangements rather than nostalgia snippets — the boarding house theme, the stoop music, the sad ones. He wrote them with real players in the room in the nineties, which is why they hold up as music instead of as a bit. The venue is an hour and change past the wind farms, a saloon in the high desert where the stage is small and people stand on the patio between sets under a sky with actual stars in it. Music at 9:00 PM in Pioneertown. Bring a jacket — the desert drops hard after dark, and everybody who has been here before knows it.
Every day· Next Oct 27
$45+
Hollywood Pantages Theatre, 6233 H…
Before jukebox musicals were a thing, The Who blew the doors off with a full-blown rock opera about a deaf, dumb, and blind kid who becomes a pinball messiah, and the Broadway revival of Tommy reinvented it for the stage with jaw-dropping projections, strobe-lit spectacle, and that wall of guitar. Pinball Wizard hits differently when a live band is shaking the walls of the Hollywood Pantages. This is loud, strange, gorgeous theater for people who think they don't like musicals. The touring production plays the Pantages October 27 through November 15, 2026, in the heart of Hollywood off the Metro B Line. Come for the songs you already know by heart, stay for a story far weirder and more moving than the radio hits let on. Bring the classic-rock fan who swears they hate Broadway; watch them cave.
Gary Clark Jr. plays guitar the way a thunderstorm rolls across a Texas plain — slow at first, building, inevitable, and by the time it fully arrives you have forgotten that you were ever dry. The two-night stand at Humphreys Concerts by the Bay puts one of the most important guitarists of his generation in a room that was designed for exactly this: close quarters, harbor acoustics, and a crowd that came to listen, not to be seen. The phone-free Yondr pouch policy means the room is full of people watching instead of filming, which is the only way to experience a performer whose gift is making you forget anything exists outside the notes. General Admission, standing room only. Humphreys is a cashless venue, and the marina setting on Shelter Island makes the walk in feel like part of the show. Monday, October 27. Doors at 6:30 PM, show at 7:30 PM.
There's more here for you.
An account shows you concert & music events matched to your exact taste — not just what's popular.