Falling in Reverse set Phoenix on fire

Walking into the amphitheater that night, the energy was contagious — fans packed in early, eager for what promised to be a chaotic, theatrical rock spectacle. From start to finish, the show delivered on drama, intensity, crowd interaction, and spectacle — with a few surprises thrown in.

Hollywood Undead kicked off the evening with a punchy, energetic set. Their signature mix of rap, rock, and hook‑driven choruses translated well to the live stage: the crowd was already warmed up, singing along, headbanging, jumping.

What stood out here was how interactive they got with the audience. During “Comin’ in Hot,” one of their more spirited tracks, vocalist Charlie Scene brought a young fan onstage to join him (after she boldly declared he was her favorite). That moment of inclusion — a kid thrust into the spotlight — created a genuine surprise and emotional high point. It underscored the band’s willingness to break the barrier between stage and crowd.

Musically, their set leaned on crowd favorites — tracks like “Undead” and “Everywhere I Go” got big reactions. Though some parts felt a bit over-rehearsed or formulaic (as sometimes can happen with a band playing many dates on a tour), they knew how to read the room and keep momentum.

Slaughter to Prevail brought a drastic tonal shift — and the darkness of deathcore hit hard. From the first guttural growl to the thunderous breakdowns, their sound was punishing, visceral, and aggressive (in a way that was thrilling to fans of extreme metal). The masks, skull motifs, and theatrical gait of frontman Alex Terrible added a sinister, almost horror‑movie texture to their performance.

They leaned heavily into their heaviness, letting sound and volume do a lot of the work. The lighting design favored sharp contrasts, strobes, and occasional blurs of red; smoke and haze swirled around the stage, reinforcing a sense of impending danger.

I did catch murmurs from the audience that on some nights Slaughter to Prevail’s drummer had to miss shows or use backing tracks, but in Phoenix their set felt full and uncompromised. Their intensity provided a perfect tension contrast before the headliner

As the house lights dimmed and a cinematic intro filled the air, Falling in Reverse sprang to life. From the opening chords of “Prequel” or “Zombified” (depending on setlist) the crowd erupted. Fire, explosions, smoke, and banging visuals dominated the stage, reinforcing that this band is as much about showmanship as musical performance.

Ronnie Radke commanded the stage with charisma. He struck a balance — sometimes theatrical, sometimes emotive, sometimes confrontational. His interactions with the audience (fist bumps, sing‑along cues, banter) grounded the spectacle, preventing it from feeling hollow.

They dove through a setlist that mixed new material with fan favorites: “I’m Not a Vampire,” “The Drug in Me Is You,” “Watch the World Burn,” “God Is a Weapon,” and more. In particular, “God Is a Weapon” took on extra weight live — the theatrical crescendos and emotional vocals were heightened in person.

The pyro was relentless: flame bursts, flame walls, underlit smoke, synchronized with key moments and musical peaks. It wasn’t just pyrotechnics for show; they used it to accentuate musical dynamics (breakdowns, chorus drops, climaxes). Visually, it was impressive; wear ear plugs if you can — it got loud.

The closing with “Watch the World Burn” (with its multiple live endings) gave a dramatic send-off. The stage went out in smoke and fire, leaving the crowd exhilarated, drenched in adrenaline.