For the fourth year in a row, Las Vegas turned into the emo/pop-punk capital of the world once again as When We Were Young 2025 took over the Festival Grounds. Honestly, it might have been the festival’s best year yet — with some layout changes and added sponsorships (7-Eleven, oh thank heaven), the festival felt easier to manuever even at peak attendance. Nothing beats a free Slurpee — or a juicy bite from Wahlburgers — or a Simple Plan themed cold brew coffee.
With the bandwagon wave of emo nostalgia on the rise, When We Were Young continued to keep its chucks (and Vans) firmly in the ground this year, maintaining its past high quality and experience — something we appreciate (and depend on) now as “adults.” This year’s festival lineup was loaded with Y2k veterans, but also creating a career-defining memory for some of the roster’s rising artists who opened early on. Whether onstage, backstage, in the crowd or in the booth, everyone grew up screaming these songs in their bedrooms.
Walking through the grounds felt like scrolling through a perfectly curated playlist: The Used tearing through “The Taste of Ink” on one end, The Starting Line pulling at our heartstrings with “The Best Of Me” on another. Later in the night, Avril Lavigne was schooling us on lame-o guys and victorious girl power on one stage, while Ice Nine Kills fake-murdered SiriusXM’s Jose Mangin onstage with their horror-themed performance across the way.
Everywhere, fans sprinted between sets, trying to catch one more chorus before the next band began. As noted before, this year felt logistically smoother, despite the inevitable overlap in set times. Transitions were smoother, sound was clear, not clashing with other stages, and production was spectacular. Stage effects and visuals matched every era we went through — from pop punk’s vibrant cartoon hearts, neon skulls and stars to screamo and emo’s edgier grunge with massive pyro (hats off to you, The Used). No matter which stage you staked out, each had something artist-tailored that reignited all of our deepest memories.
The 7-Eleven Stage delivered a stacked run of pop-punk powerhouses and nostalgia-fueled favorites. Kicking things off early were The Summer Set and Mayday Parade (both with cult-like followings, may we add), setting the tone with bright, uplifting energy and crowd singalongs before The Story So Far brought in their melodic, heavier sound.
Midday’s biggest highlight came from Simple Plan — not that we are surprised one bit. Simple Plan holds the record for most Warped Tour dates ever played as a pop-punk band, and we knew they wouldn’t miss When We Were Young again for the fourth time. The guys attract a crowd that spawns metalheads and little kids and everyone in between. The band was sure to bring along their confetti and streamer blasts — generously firing them off multiple times throughout their set. Of course, they played their rendition of “What’s New Scooby Doo” and flooded the stage with a handful of friends in Scooby Doo costumes. Simple Plan always shows up — giving 100% every single time. We’re not sure When We Were Young would ever be the same without them.
All Time Low kept the energy going with their typical silly banter and fun performance. Towards the end of the set, fans from other stages raced to the stage as they heard “Dear Maria, Count Me In” begin — a hit that none of us could miss seeing live.
As the sun began to dip, The Offspring tore through a jam-packed setlist full of hits over the course of decades. The guys opened with “Come Out and Play” followed by “All I Want” and “Bad Habit.” On par with their latest tour, huge inflatable skeletons towered over the band from behind. The crowd was in for a surprise when the original “Pretty Fly for a White Guy” actor made an appearance on stage during the song and sent us all back into a nostalgic wave of when all we watched on TV were music videos.
Weezer hit the stage with a beautiful starry-night backdrop, with ever-changing graphics that illuminated the experience further — especially since the sky had gone dark by this time of night. “My Name Is Jonas” and “Hash Pipe” (my personal favorite) headed the setlist along with other fan favorites like “Beverly Hills,” “The Sweater Song,” and “Island In The Sun.” The band welcomed Blondshell as a special guest during “I Just Threw Out the Love of My Dreams,” a deep cut that we definitely didn’t expect to hear! Weezer closed out their set with “Say It Ain’t So” and “Buddy Holly,” two of their most-known hits that had the crowd’s singalongs echoing throughout the grounds.
Blink-182 brought the heat (literally) with a stacked performance of endless hits, hilarious jokes and a loaded pyrotechnics display. The ever-loved trio gifted us with 22 songs in total, nailing all of the hits that served as a soundtrack to our daily lives such as, “The Rock Show,” “First Date,” “What’s My Again Again,” “Feeling This,” “I Miss You,” “All The Small Things” and so many more. A lesser known track, “Dumpweed,” was a personal highlight for me, as Enema of the State was on constant rotation from the day it was released back in 1999. Upon wrapping their set with “Dammit,” a beautiful fireworks show shot into the night sky, lighting up the massive crowd for an emotional and memorable performance.
It was clear that Panic! At The Disco boasted the coolest fans at the fest, many decked out in nostalgic outfits reflective of their many theatric-inspired music videos. Their debut record, A Fever You Can’t Sweat Out, celebrated its 20th anniversary — and what better way to relive its glory than performing it front to back? Some tracks hadn’t been played live for over 18 years. To say this was a treat… would be a huge understatement. Many flocked to When We Were Young just to witness this record live twenty years later.
Coming in hot with their more recent mega-hits like “High Hopes,” “Hey Look Ma, I Made It,” and “Victorious,” Panic did not disappoint. Throwing in a cover of Queen’s “Bohemian Rhapsody” was the icing on the cake, especially for those who weren’t as familiar with the band. In a serious plot twist no one saw coming, Panic’s original drummer, Spencer Smith, surprised fans by joining Brendon onstage for the first time in over a decade to play their encore of “I Write Sins Not Tragedies.” Tears were flowing from the moment Brendon stepped onstage and we’re confident they didn’t stop until the final note — and even beyond.
The Pink Stage felt like 7-Eleven’s bestie/frenemy, as the crowd was constantly torn between holding their prized spot up close or bouncing next door to see their other favorite artists. Early in the day, Destroy Boys and Boys Like Girls offered up two very different sounds — punk snarl followed by glossy pop-punk harmonies. Boys Like Girls drew a huge crowd for being earlier in the day… but some of those bangers like “Love Drunk” and “The Great Escape” are absolutely irresistible.
Yellowcard‘s stage setup was nothing short of nostalgic eye candy — their big, bold logo with color-toned speakers, retro lights and a slew of pyro (which we didn’t see coming) caught everyone’s attention beyond the music. Everyone almost lost their voices during their second song, “Only One.” Though the setlist felt short, every song really hit the spot and the band sounded on point. If you’ve never seen Yellowcard before, I recommend catching a full set — you’ll never realize how incredible violinist Sean Mackin is paired with old-fashioned pop punk.
The intensity ramped up as Knocked Loose delivered their usual visceral set — the mosh pits, circle pits and walls of death all prevailed. There is something special about Knocked Loose that has attracted people from all subgenres to love them. Though they aren’t the typical When We Were Young artist, they had one of the largest afternoon turnouts we’ve seen over the course of many years at the festival. Even those who weren’t familiar with the band made their way to the stage to see what the buzz was all about.
The Used graced us yet again with their powerful performance at golden hour, which only added to their pyro-charged set. “Take It Away” and “I Caught Fire” were personal favorites, though we’d love to have seen more than 7 songs — Robbie’s infectious vocals combined with the rest of the band really set the bar high for themselves. We were thrilled to see them back from last year, and hope to see them again.
Somehow over the course of over 20 years, I’d never seen Avril Lavigne live (I know, I know…) It only took about thirty seconds for her to remind us why she’s “the motherfuckin princess” of pop-punk as she hijacked the crowd’s attention immediately. Fans of all ages filled the crowd and many artists who played earlier in the day gathered at soundboard to catch a glimpse of one of Y2K’s most prominent female artists. Avril continues to make an impact decades later with her exciting performances and effortlessly cool style.
The Ghost Stage was the most eclectic of the four, moving fluidly from nostalgia to discovery throughout the day. It opened with one of my OG east coast favorites The Movielife — who were gently baffled that their 30th anniversary was on the horizon (aren’t we all). Seeing them live again felt like opening a tomb, especially hearing “Hey” all over again. The Red Jumpsuit Apparatus, immediately threw in early-2000s Warped Tour spirit, followed by the ever-so-dreamy The Rocket Summer, who had a huge fan following in tow. The Amity Affliction balanced pop-optimism and post-hardcore with their hard detour from The Rocket Summer.
Fans flooded the stage midday to catch Straylight Run, We The Kings, and the much anticipated comeback of The Cab. They kept things melodic and heartfelt as usual, reminding us why so many fell for them back in the day. Another personal favorite of mine, The Starting Line, united the crowd over hits like “Up and Go” and “The Best Of Me.” The Maine continued that same upbeat aura as diehards threw up their neon-lit cowboy hats in solidarity with the band’s aesthetic.
As evening approached, the roster grew heavier with solid, veteran acts: The Gaslight Anthem, Bad Religion, and Alexisonfire. Taking Back Sunday brought one of the weekend’s loudest singalongs, with perhaps some of emo’s most recognizable lyrics of all time being belted across the Vegas sky. The night closed with a powerful back-to-back stretch from Beartooth, I Prevail, Motionless In White, Crown The Empire, and Asking Alexandria, turning the Ghost Stage into a storm of lights, breakdowns, and arena-worthy intensity.
Over on the Allianz Stage, the lineup catered to the heavier, darker, and more experimental corners of the scene. The morning began with Her Leather Jacket, Arm’s Length, and Holding Absence, all full of explosive energy, solidifying their spot on the bill. As the day moved into the afternoon, Taylor Acorn, Drain, and Don Broco all brought their own diverse sounds — from alt-pop edge to modern British alt-rock to mosh-pit chaos. Sets from Plain White T’s and PVRIS softened the intensity of acts prior. As dusk arrived, the stage turned into metalcore heaven with We Came As Romans, Story of the Year, and The Plot In You, followed by fan favorites Chiodos and Ice Nine Kills.
The night rounded out with a crushing (and very unique) lineup of Loathe, Jack’s Mannequin, Letlive., Breathe Carolina, Kublai Khan TX, and Sunami — who closed out the stage in pure chaos may we add. After Jack’s Mannequin’s soulful piano rock and LiveJournal-esque nostalgic soundwaves, the remainder of the night mirrored the festival’s wilder, more aggressive side — perfect for those who grew into the heavier side of music as they got older. All eyes were on Letlive., fronted by Jason Aalon Butler (FEVER333), who launched himself into the crowd to get up close with fans as the circle pit opened up immediately. A trashcan flew across the sky, nothing unusual for a Letlive show — followed by a chair, stage equipment and anything else that was in arm’s reach.
What makes When We Were Young 2025 so special is that it didn’t just rewind our golden years — it reframed it. Our favorite artists flung us into a time warp that made us feel alive, back to a time when life wasn’t so bad (though our teen selves may remember otherwise). From Blink-182’s goofy humor to Panic! At The Disco’s theatrical reunion to Avril’s timeless and empowering performance, there was something for everyone — regardless of the specific niche you pledged your soul to back in the day.
The weekend wasn’t just about trying to relive the past… it was about celebrating how far this subculture (and everyone who grew up with it) has come. Because sometimes, nostalgia doesn’t always have to be sad or wistful — it can be warm and fuzzy, reminiscent and happy, and of course, screaming the lyrics to “I Write Sins Not Tragedies” at the top of your lungs with 80,000 fellow emos and scene kids under the Vegas sky.
GALLERY: When We Were Young Festival 2025 at Las Vegas Festival Grounds (October 18, 2025) — Photos by Nikki Phillips
