The sand is still warm when the sun drops behind the pier and the stage lights start catching the salt in the air. A first chord hits differently when you are barefoot and the Pacific is fifty feet behind you.
This is Goldenvoice's first run at a beachside festival here — two stages built directly on the sand with the pier deck working as a third — and the debut lineup reads like a playlist somebody assembled to impress a person they like. The Killers and Jack White anchor one day alongside Sublime and Alvvays; Olivia Dean, Khruangbin, Durand Jones & the Indications, and Hiatus Kaiyote pull the other one somewhere softer. SG Lewis, Hot Chip DJs, BLOND:ISH, and Poolside fill the golden-hour gaps.
The footprint runs from the pier down toward Bay Street: walkable between stages without missing a transition, wide enough that the crowd can breathe. All ages.
Go with whoever you would want standing beside you when the sun goes down.
Somebody's fingers are bleeding and nobody in the building wants the set to end. That is the whole review.
Billy Strings did not modernize bluegrass. He played it so hard and so honestly that the walls between traditions stopped being load-bearing. Flat-picking at a speed that makes people laugh out loud in disbelief. Jams that wander into country Doc Watson never mapped and would have gone along with anyway. This date follows a sold-out night across town, which is the only sales figure worth quoting. An arena is a strange room for one acoustic guitar and he keeps proving otherwise.
Inglewood, doors in the early evening, seats through the usual channels.
If you have ever tried and failed to explain why a guy with an acoustic guitar is the most exciting live act in America right now, stop explaining. Buy them a seat and let the music handle the rest.
Most art festivals feel like walking through somebody else's mood board. This one feels like walking into a neighbor's garage on the day they finally let you see what they have been working on. The lawn and plaza outside City Hall fill with South Bay artists who show almost nowhere else — painters, muralists, sculptors, mixed-media people whose work carries the specific texture of a region that knows it has been overlooked and stopped caring about being noticed. It is not juried. There are no tiny wine glasses. The distance between the person who made the thing and the person looking at it is a handshake, which is the entire difference. Live music fills the gaps between conversations, and the food is the kind that only turns up at a South Bay block party. Free, outdoors, afternoon into evening. Go buy something small from somebody who lives near you.
The admission is earned by completing actions — volunteering, signing petitions, raising awareness for global causes. You buy a ticket by doing something. Then 60,000 people gather in Central Park. The experience at the Global Citizen Festival is Central Park in its most elevated state. The Great Lawn becomes a real concert venue for one day — production values matching any arena show, stages facing west so the sunset falls behind the skyline, and a crowd that was specifically required to do something to be there. The lineup has historically been extraordinary: Beyoncé, Rihanna, Coldplay, Stevie Wonder, Pearl Jam, BTS, Billie Eilish, and dozens of other globally recognized artists have performed on the Central Park stage. No other free concert in the United States comes close to this lineup caliber. The combination of arena-caliber music, the most famous park in the world, and a crowd selected by civic engagement produces something that exists nowhere else on the American event calendar. The Global Citizen Festival is among the highest-value cultural experiences in New York — potentially in the US — for the exact cost of civic engagement plus transport to Central Park. If you live in New York, attending means completing a few actions in the app over several weeks. If you are visiting New York in late September, building the trip around the festival is a compelling proposition: the park, the concert, the specific feeling of being in Manhattan on a clear September Saturday with 60,000 other people who did something to be there. There is no other event where the barrier to entry is specifically: care about something. Global Citizen Festival entry is earned through the Global Citizen app — start earning points two to three months before the event. A single meaningful action (contacting your congressional representative, sharing a verified campaign) can earn a single ticket; multiple actions earn additional passes. West 72nd Street entrance is the standard festival access point. The Great Lawn has no shade — wear sunscreen and bring layers for the evening. Gates typically open at 3 PM; headliners go on at dusk around 6-7 PM. Bags are screened. Food and beverage are sold inside. Rideshare to the 72nd Street and Central Park West drop zone is the easiest arrival method. The festival is the reward for paying attention to the world. In Central Park, on the last weekend of September, 60,000 people who spent weeks signing petitions and making calls listen to the same music together. The transaction is real. The experience is extraordinary. September in New York.
Sep 25, 2026
$$
Moreno Beach, Lake Perris State Pa…
By the third mainstage megafest of the summer you start to feel it — the wristband fatigue, the ninety-thousand-person crush, the quiet realization that you paid a small fortune to feel completely anonymous.
Underneath that sits a truer thought. You did not fall for this music because of pyro and sponsor tents. You fell for it because of one moment years ago at two in the morning when the bass dropped to a heartbeat and every stranger around you suddenly felt like somebody you would want to know.
The whole thing here is engineered around that feeling. Four days camped on a beach inside a state park, forty-nine artists moving through house and deep electronic and bass, and a crowd capped on purpose at seventy-five hundred — small enough that by Sunday you recognize faces, the crew two tents over becomes your crew, and the sunrise sets play to people who stayed up specifically for them.
Bring a tent, water, and the one friend who would understand every second of it.
Some bands retire. Some bands do farewell tours that last a decade. Iron Maiden writes a new album, hires a bigger pyro crew, and books an outdoor stadium they've never played before. That's the difference between legacy and relevance.
Iron Maiden brings the Run For Your Lives World Tour to BMO Stadium in Los Angeles on Thursday, September 25 at 6:15 PM, with Megadeth and Anthrax as support. Let that lineup sink in. Three of the Big Four of thrash metal on one stage in Los Angeles — the city that birthed half the genre. A second night follows on September 27 with the same lineup for anyone who needs a double dose.
BMO Stadium is a 22,000-capacity open-air venue in the heart of Exposition Park, walking distance from the Expo Park/USC Metro station. The venue's intimate dimensions for a stadium mean even upper-level seats feel close. The run starts at 6:15 PM — early enough to catch every opener in daylight before the main act takes the stage under a wall of fire.
This is the show the metal community has been waiting for. Three of the four architects of thrash, one stage, one city. Lock it in.
Your pulse moves before you consciously remember what that drowning music was. That is the whole premise: the soundtrack that lived inside a CRT television while you pressed right and hoped, performed by an actual ensemble — rock musicians, vocalists, electronics — with visuals cut to every note on the screen behind them. It covers decades of the franchise, which means the argument starts on the drive home about which zone had the best track and never fully resolves. This is not a DJ set and not a remix record. It is a room full of adults who learned the same melodies at the same age, hearing them played loud by people who take them seriously. San Diego Civic Theatre, a Friday evening in September. If Green Hill Zone does nothing to you, skip it. If it does, you already know exactly who you are bringing.
Monthly· Next Oct 25
4th Street between Temple Ave and …
Somebody drags a rack of coats onto the sidewalk and that is the whole signal. The vintage shops that would normally be locking up at six prop their doors instead. A record store puts a speaker in the window and the sound spills into the plant shop two doors down, which is also somehow open and somehow full.
This is not a festival. Nobody built a stage. It is the same eight blocks that are here every other day of the month, except everyone decided to stay late at once, and that turns out to be the entire trick. You end up talking to the woman who owns the shop because she is standing outside her own door with nothing to do but talk to you. That does not happen on a Tuesday afternoon and it does not happen at a mall.
The stretch runs Temple to Cherry and is genuinely walkable end to end in the time it lasts. There is a free bike valet, which tells you something about who this is for. Go hungry — half the appeal is that the restaurants on this corridor are small enough that one busy Friday actually changes their month.
Fourth Friday of every month, 6:00 to 9:00 PM, 4th Street between Temple and Cherry.
Nobody warns you about the swell in your chest when the theme hits and a character decides to go beyond what they can survive. Now put a live orchestra a few feet in front of you and let an entire room have that at the same time.
That is the whole proposition. The Fox is an old theater with the acoustics of a place built before anyone thought about amplifying anything, which means the brass arrives in your ribs rather than your ears. The crowd comes dressed as the people they wish they were brave enough to be, and by the second half nobody is self-conscious about it anymore. All ages, and every person needs a ticket regardless of age, so the kids get counted like everyone else, which is right, because they are the ones who cry first.
Mission Inn Avenue in Riverside, doors in the evening.
Go with whoever you watched the finale with. Do not go alone.
Sep 24, 2026
$22+
The Casbah, 2501 Kettner Blvd, San…
Nobody actually knows who is under the mask, and after a few minutes you stop caring, which is the whole enchantment.
An anonymous producer in a glowing animal head plays live drums over shimmering, tribal, unreasonably emotional electronic music, and the result lands somewhere between a rave and a ritual. The cult following treats every performance like a secret handshake — people who found this on their own and have never quite been able to explain it to anyone who has not stood in the room while the drums come in.
A small, sweaty, transcendent night on Kettner Boulevard, one Thursday in September, in a venue that has hosted exactly this kind of thing for decades and knows precisely what it is doing with it.
Bring the friend who likes a little magic with their music, and let it carry both of you somewhere else.
Orchestras change conductors about as often as countries change constitutions, and this one kept the same person on the podium for thirty-five years. Everybody in the hall knows they are hearing the first sentence of a story that will outlast most of them.
Alexander Shelley takes the podium for his first concert as Music Director, and he does not arrive quietly — he brings Joshua Bell, one of the most cherished violinists alive, and opens with a bold new reading of The Star-Spangled Banner. In the acoustics at Segerstrom that opening is not a formality. It is a statement of intent about who this orchestra means to become.
Costa Mesa, an October evening, with the county's symphony faithful out in force alongside everyone who wants to say they were there at the start.
Bring the person you would want beside you the night something begins.
Sep 24, 2026
$45+
Cerritos Center for the Performing…
Who you gonna call? Everybody, apparently, because there's a special magic to watching a movie you love on a giant screen while a live orchestra plays every note of the score in real time. Ghostbusters In Concert pairs the 1984 comedy classic with a full ensemble performing Elmer Bernstein's music and Ray Parker Jr.'s inescapable theme, and the effect is pure joy: the jokes land, the proton packs whir, and the whole room sings the chorus without a shred of irony. Thursday, September 24, 2026, Cerritos Center for the Performing Arts. Bring the kids who've never seen it and the adults who've seen it fifty times. It's family-friendly, gorgeously performed, and a genuinely fresh way to experience a film you thought you knew by heart. Come get slimed, the classy way.
Winning Best Film here means your movie is genuinely, get-under-your-skin frightening -- because the whole point of this place is the horror, science fiction, and genre film that would never survive a studio committee. For eight days the Alamo Drafthouse in Austin turns into the strangest week of the year in a city that specializes in strange.
The Drafthouse means dinner and drinks arrive at your seat during the film. The selection spans international premieres and US debuts under a curatorial ethos that prizes the weird over the safe and refuses to be rigid about genre -- the umbrella covers anything that warrants the word. Secret screenings are the festival's signature: you sit down not knowing what you are about to watch, and the audience often does not learn the title until moments before it starts. Between films there are trivia nights, drag shows, karaoke, live bands, and stunts that have included burying audience members alive and staging sideshow performances.
If your opinions about horror and cult cinema run ahead of the mainstream, this is your event -- and this is the 21st edition, a scrappy Austin experiment that became the definitive American destination for genre film, the place where the most adventurous versions of these genres get their first real audience. Films that premiere here regularly go on to win awards and pull strong box office months later. Sitting in that auditorium surrounded by people who drove in from five states for this one week is the feeling that makes the badge worth every dollar.
Send this to the friend who has watched everything and is still hunting for something that scares them. Fantastic Fest runs September 17 to 24. Fan Badges cover the full eight days; Second-Half Badges run September 21 to 24 and include parties and Highball access at the venue adjacent to the Drafthouse; Industry Badges cover daily press and industry screenings. The Alamo Drafthouse South Lamar runs multiple simultaneous screenings across several auditoriums, which gives you real choices when your schedule collides with itself. Badge categories sell out early and secret-screening seats fill fastest, so arrive early if you want one. Check fantasticfest.com for current availability.
Some nights you go to a concert. Some nights you go to watch an era close. This is the second kind, and the people who understand that will be in those seats whether or not it was a sensible week to spend the money.
Wynton Marsalis has led this orchestra for a generation, turning a big band into the keeper of an entire American art form, and this is his final season directing it. He is spending part of that farewell on John Coltrane, a centennial program for the man who bent the saxophone toward the sacred, played under open sky by the finest big band working today. Lakecia Benjamin opens on saxophone before the orchestra takes up the Coltrane book.
The Hollywood Bowl on a September evening, on the most beautiful stage in Los Angeles. The straight-ahead faithful will be there to mark the end of something. Go sit among them.
The voice that made you cry in your car at 2 AM is about to make six thousand people cry standing up. Kehlani brings the World Tour to Viejas Arena at San Diego State University on September 23, 2026, continuing a North American run that has turned the Oakland-born R&B singer into one of the most in-demand live performers in the genre. Kehlani's catalog lives in the space between vulnerability and defiance — songs about love that sound like they already know how the story ends but refuse to skip to the last page. The Viejas Arena show starts at 6:30 PM, with Kehlani partnering with PLUS1 so that one dollar from every ticket sold goes to The Kehlani Fund by Live Nation. The venue sits on the SDSU campus at 5500 Canyon Crest Drive, holding roughly 12,000 for concerts in a setting that puts college-town energy inside arena scale. This is not background music. This is the room where every lyric gets sung back louder than it was delivered.
Sep 19 – Sep 20, 2026
TBD
Glen Helen Regional Park, 2555 Gle…
The longest-running rave in North America has been happening at Glen Helen Regional Park in the San Bernardino foothills for over 25 years. September 19–20, 2026 — the format hasn't changed because the formula works.
The festival grounds sit in a natural amphitheater with mountain views, making the light-show production hit differently when the sun goes down. Multiple stages run simultaneously across the weekend, meaning you build your own schedule from artists you've been watching all year and a few you'll discover the night you arrive. Free water refill stations, food and bar access, and premium air-conditioned VIP restrooms are included in VIP passes.
Camping is a core part of the experience — on-site options include tent, car, waterfront, lakeside, and RV camping through Outdoorsy partnerships. Waking up on the festival grounds, coffee in hand before the evening lineup, is a different kind of weekend. 18+ event. GA and VIP 2-day passes available now through AXS. If you've ever wondered what the SoCal rave scene looks like at scale, this is the one.
Soulwax are the band your favorite DJ wishes they were in. The Dewaele brothers have spent three decades refusing to choose between live instrumentation and electronic production, and the result is a stage show where a full band plays synthesizers, drums, bass, and guitar in arrangements that sound like someone fed Kraftwerk and LCD Soundsystem into the same room and locked the door. The Land of the Free Tour is an experience that collapses the line between rock show and rave — everything you hear, every throbbing bass note and every glitching synth phrase, is performed live by a human being in real time. If you have ever wondered what happens when a techno set gets performed with the sweat and chaos of a punk band, this is the closest thing that exists to an answer. The Del Mar Fairgrounds open-air venue catches the September ocean breeze. Sunday, September 20, at 8 PM.
Sixty years collapse into the present tense on the first note. You know every word, and not because you ever sat down to learn them. These songs were already in the room at every wedding, every backyard, every late-night kitchen slow dance that mattered to your family.
Both groups on one stage, in a small amphitheater on Shelter Island where the harbor breeze carries the harmonies out over the water. My Girl. Ain't Too Proud to Beg. Reach Out I'll Be There. Standing in the Shadows of Love. Calling them oldies is a category error, and you feel it about four bars in, when the whole crowd stands up without anyone deciding to.
Humphreys Concerts by the Bay, an evening show, tickets through Ticketmaster. Your parents slow-danced to this music. Take somebody and do the same, whether or not you arrived together.
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