The Offspring, Jimmy Eat World, and New Found Glory take on Phoenix

When the "Supercharged ’25" tour hit Phoenix, the night delivered everything fans had come to expect—and more. With a stacked lineup in New Found Glory, Jimmy Eat World, and The Offspring, the show balanced nostalgia, high energy, and emotional resonance in a way that made it feel both familiar and freshly exciting.

Opening up the night, New Found Glory wasted no time setting the tone. Kicking off with originals like “Understatement” and “Hit or Miss,” they immediately got the crowd moving. The band has faced difficulties recently — Chad Gilbert’s health challenges being a central point of concern — but their performance showed you could sense the struggle without letting it dull the drive.

Frontman Jordan Pundik came out roaring, interacting with the audience, leaning into crowd participation especially during tracks like “All Downhill From Here.” The older material got as much love as newer stuff; closing out with “My Friends Over You,” the band left the stage having stoked the fiery pop‐punk spirit in the crowd. The energy was fast, sharp, punky, and just when you thought they might pause, they’d surge again.

As expected, Jimmy Eat World added a different vibe: less chaos, more catharsis. Since they're Arizona natives, playing in Phoenix brings a hometown feel, which frontman Jim Adkins acknowledged. Starting the set with “Pain,” they built gradually, mixing emotional weight with sing‑along power. “Bleed American,” “Something Loud,” “Just Tonight,” and especially “The Middle” felt like anchors—moments where the crowd became part of the performance

What was impressive was how tight the musicianship was. Whether in quieter moments or big chorus sections, the band never lost control. The hometown crowd seemed deeply invested—singing every word, swelling in volume, especially during the final stretch: “A Praise Chorus,” “Sweetness,” “The Middle.” These weren’t just hits—they were collective memories.

If Jimmy Eat World grounded the show emotionally, The Offspring let off the fireworks. They opened their set with “Come Out and Play,” and from the first riff, the crowd was electric. It was loud. It was chaotic. It was everything you want from a punk rock show at this scale.

For their part, The Offspring leaned heavily into hits—the songs that made people buy tickets. Classics like “Pretty Fly (for a White Guy),” “The Kids Aren’t Alright,” “Bad Habit,” “Why Don’t You Get a Job,” etc., felt both polished and visceral. Moments of spectacle—they brought in giant inflatable skeletons, smoke effects, massive visuals—balanced the rawness of having a mosh pit, crowd surfers, and shouted lyrics that echoed across the amphitheatre