Punk has seen a somewhat perplexing yet clear resurgence in recent years: Turnstile and Idles are now among the top mainstream bands in rock; Coachella is making efforts to restore its identity as a music festival rather than merely a massive photo opportunity by booking acts like Devo, Suicidal Tendencies, and Drain; and, undeniably, the genre has evolved within hip-hop thanks to artists like JPEGMAFIA, Danny Brown, and redveil.
It's chaotic, yet very much present.
This past weekend, New York City dedicated a day to celebrate the culture by honoring its icons and providing opportunities for those who are set to carry the legacy forward. Nearly two decades after the permanent closure of CBGB in Manhattan in 2006, thousands gathered across the East River to commemorate the club's over thirty-year impact. Once a birthplace for punk and new wave, it featured performances from legendary acts such as the Ramones, Talking Heads, Patti Smith, and Blondie. Today, it serves as a significant memory of the movement's peak era.
The CBGB Festival unfolded at Brooklyn’s Under The K Bridge venue on Saturday (September 27th), literally beneath the Kosciuszko Bridge. The venue's industrial gray aesthetic aptly matched the event's gritty theme, making the artifacts from the now-closed concert hall feel right at home, with many attendees mistaking the preserved bar from 315 Bowery for an operational bar.
Characterized by clear acoustics, the festival showcased a total of twenty-one acts across the CBGB Stage, Young Punk’s Stage, and Hilly’s Stage. The Sex Pistols had withdrawn a few weeks earlier, but does anyone even care to see them without Johnny Rotten? On that note, does anyone really want to see a Trump-supporting Johnny Rotten at a punk festival anyway? Thankfully, that's not a concern we need to address for now.
While the main stage saw most of the action, several performances at the other two stages were also noteworthy. Among the established acts, Gorilla Biscuits delivered a solid show with no compromises, while newer names like Teen Mortgage, The Linda Lindas, and Destroy Boys demonstrated that punk's narrative spans more than just the past and present.
Particularly impressive was YHWH Nailgun, whose performance stood out as one of the most visually and audibly captivating of the day. Combining elements of Radiohead, Korn, and Nine Inch Nails, this experimental four-piece from Philadelphia brought an electrifying presence to a crowd of fewer than a hundred. Drummer Sam Pickard, who serves as the focal point of the group, is astonishing in an intimidating way reminiscent of Zach Hill from Death Grips — words can't fully capture how extraordinary he is live.
On the CBGB Stage, seasoned performers brought their A-game. While Melvins and The Damned stayed true to their style, Lunachicks returned for their first gig since 2022. It's unfortunate that the New York City punk legends don’t perform more frequently, as if Theo Kogan graced the stage more often, Gwen Stefani might not have captured the same attention among the cool kids before she started promoting Christian prayer apps.
Johnny Marr kicked off the evening with what could be deemed the most flawless performance of the CBGB Festival. His set largely consisted of songs by The Smiths — including ‘Panic,’ ‘Please, Please, Please Let Me Get What I Want,’ and ‘This Charming Man’ — all delivered to perfection. Such assertions carry risk, but the 61-year-old sounded just as crisp as he did on the original recordings … it almost felt like he could have handled it all solo. Ultimately, it was for the best that he took the mic, as there’s hardly any room for Morrissey at a punk festival, just like there’s little for Johnny Rotten.
Before moving to the final two performances, it's worth noting some skepticism regarding Detroit. Setting aside Motown's everlasting brilliance, the city has consistently produced some of the most impressively talented disruptors over the last century. From John Lee Hooker and Death to MC5, Alice Cooper, Eminem, and Danny Brown — the list goes on without any clear explanation.
Unsurprisingly, Jack White blew the crowd away. It’s astonishing how much organized sound one man and his guitar can produce, and he seems determined to showcase this repeatedly, almost as if he hadn’t made the point clear two decades ago. His set included a well-balanced mix of songs from The White Stripes, The Raconteurs, The Dead Weather, and selections from his solo work, each sounding just as impactful as the classics. This is what sets the Third Man Records founder apart: despite producing music since the late '90s, his fans remain just as thrilled when he performs new material. While there’s nothing like watching him strum ‘Little Bird’ on his well-worn guitar or improvise through ‘Ball and Biscuit,’ ‘Freedom at
es.cher has released his latest mixtape titled 'Scattered, sunlight, broken glass'. The mysterious artist is an essential collaborator, having teamed up with Halsey.
The LA project Rio Kosta is set to perform two shows in the UK later this year. This psych-pop group weaves intricate soundscapes with comforting rhythms, creating a laid-back yet
Dry Cleaning is set to release their third album, 'Secret Love', on January 9, 2026. Produced by Cate Le Bon, 'Secret Love' marks the South London quartet's most genuine work yet.
Melody's Echo Chamber is set to release a new album titled 'Unclouded' on December 5th. This project serves as a platform for the creativity of French songwriter Melody Prochet.
Before their performance at SON Estrella Galicia's Soundhood Hackney event this weekend, we spoke with the Dublin five-piece.
Buck Meek has announced a series of headline performances in the UK. The songwriter is an important member of Big Thief, and his solo projects are widely appreciated. Buck Meek
Punk has undergone a somewhat perplexing yet undeniable revival in recent years, with Turnstile and Idles emerging as some of the most prominent bands in the mainstream.