NOFX - Final Shows: “We did it our way”
Reporting on NOFX’s final shows in Los Angeles feels almost surreal. After 40 years of pushing the boundaries of punk rock, Fat Mike and company bid farewell with a multi-night blowout that was equal parts celebration, chaos, and a reminder of why NOFX has remained one of the most polarizing yet beloved acts in the genre. However, while the nostalgia and historical significance of these performances were undeniable, the execution left plenty to be desired.
Another issue was the overall sound quality. For an event of this magnitude, you’d expect a production level that at least ensured the music was clear and powerful. Instead, the mix was all over the place, with vocals getting drowned out and the bass frequently overpowering everything else. It was particularly noticeable during faster tracks, where everything blurred together in a muddled wall of sound. For a band playing their final shows, it would’ve been nice if they had tightened up the technical aspects to give fans a performance they could truly savor.
The crowd, however, was everything you’d hope for at a NOFX show. There was a sense of camaraderie among the audience, many of whom had followed this band for decades. The pit was chaotic but good-natured, and there was an undeniable feeling that everyone there was trying to make the most of what was, for many, a bittersweet farewell.
Ultimately, the NOFX farewell shows in Los Angeles were exactly what you’d expect: a beautiful mess. If you went in looking for a tightly rehearsed, flawlessly executed goodbye, you were likely disappointed. But if you went in expecting NOFX to be NOFX—drunken rants, technical hiccups, and all—you probably had a hell of a time. Whether that’s a fitting send-off for a band that never played by the rules is up for debate, but one thing is certain: NOFX went out exactly as they came in—on their own terms, for better or worse.
Day 1: Friday 10/4
Amenities and Parking
The venue had a decent selection of food and drink options, with a mix of local vendors and standard concert fare. Beer lines were long but moved fairly quickly, and there were plenty of restrooms available. However, parking proved to be a major hassle. Many attendees struggled to find spots, with nearby lots filling up quickly and prices being unreasonably high. Some fans resorted to parking further away and walking a considerable distance just to make it to the venue in time.
Opening Bands
The first night’s lineup was stacked with some of punk rock’s most influential names. Dropkick Murphys closed out the night with their signature blend of Celtic punk energy. The crowd responded enthusiastically, especially during anthems like "Shipping Up to Boston" and "Rose Tattoo." Their set felt celebratory, with the band feeding off the audience’s energy and capping off the night with a final burst of rowdiness.
MXPX delivered a tight and well-rehearsed set, proving that their years of experience have kept them sharp. They leaned into classics like "Punk Rawk Show" and "Responsibility," eliciting a strong response from the longtime fans in attendance. The pop-punk elements added a bit of variety to the night, balancing out the heavier and grittier performances that followed.
Other notable acts included Bouncing Souls, who brought their trademark singalong energy, Buzzcocks, delivering a nostalgic yet still vibrant set, and 7 Seconds, whose hardcore punk roots injected a faster and more aggressive edge to the night. D.O.A., D.I., and Luicidal kept the old-school punk ethos alive, proving that even after decades, they can still bring a no-frills, raw punk performance.
NOFX Set
NOFX’s setlist on the first night was a journey through their extensive catalog, featuring entire album performances. They kicked off with Punk in Drublic, playing it front to back, much to the delight of longtime fans. Highlights included "Linoleum," "Don’t Call Me White," and "The Brews," all of which had the crowd erupting into pits and singalongs. After a short intermission filled with classic NOFX banter, they moved into selections from Wolves in Wolves' Clothing and So Long and Thanks for All the Shoes, ensuring that fans got a mix of their most beloved eras.
First and foremost, I want to acknowledge the sheer weight of this moment—NOFX closing the chapter on their career with a string of shows in Los Angeles was bound to be an emotional experience for fans. Many had traveled from across the country, even internationally, to be part of punk rock history. But with that level of anticipation comes an expectation: a final show should feel momentous, tight, and, above all, worthy of a band’s legacy. Unfortunately, NOFX, in typical NOFX fashion, delivered an experience that teetered between absolute brilliance and frustrating self-sabotage.
Let’s start with the good. The setlist was a dream for any longtime fan. Spanning their entire catalog, the band played full albums each night, ensuring that diehards got deep cuts alongside fan favorites. Tracks from Punk in Drublic, So Long and Thanks for All the Shoes, and White Trash, Two Heebs, and a Bean reminded everyone why NOFX had such a massive impact on punk rock. The band still had their signature sound intact, with El Hefe’s guitar work and Melvin’s tight rhythm keeping everything grounded, even when things got sloppy.
And that leads me to the not-so-good. It’s no secret that Fat Mike has always been a wildcard on stage—his ability to deliver biting humor and absolute nonsense in equal measure has always been part of the band’s charm. However, for a final set of shows, there was a noticeable lack of focus and professionalism that bordered on self-indulgent. Long-winded rants, inside jokes that alienated the audience, and an excessive amount of downtime between songs made the pacing unbearable at times. What should have been a career-defining moment instead felt like just another NOFX show—fun, messy, and at times frustratingly careless.
Day 2: 10/5 “Fat-urday”
Starting from the bottom of the bill, Poli Van Dam kicked off the day with a raw and intimate performance that showcased her transition from a band member to a solo act. While her set was relatively short, she managed to connect with the audience through personal lyrics and stripped-down punk melodies, proving she has the potential to carve out her own space in the scene.
Get Dead followed up with their gritty, folk-infused punk sound that injected a much-needed dose of unpredictability into the early part of the day. Their set included fan favorites like "Stickup" and "Disruption," both of which had the crowd moving despite the blistering heat. Their energy felt unfiltered and authentic, setting the stage for the heavier acts to come.
Bad Cop/Bad Cop proved once again why they’re one of the most exciting modern punk bands. Their harmonies, combined with their sharp political lyrics, made for a set that was both thought-provoking and full of high-energy anthems. "Victoria" and "Womanarchist" stood out as some of the most well-received tracks of the afternoon, with the crowd passionately singing along.
Swingin’ Utters brought their mix of folk-punk and street punk to the stage, delivering a nostalgic yet powerful performance. Tracks like "Five Lessons Learned" and "Stupid Lullabies" resonated deeply with longtime fans, and the band's relentless energy ensured that even newcomers were drawn into the chaos.
Mad Caddies brought a refreshing change of pace with their ska-infused punk sound. Their brass section added a dynamic layer to their performance, keeping the energy high while also offering moments of groove-heavy respite. Tracks like "Monkeys" and "Road Rash" had fans skanking in the pit, bringing a welcome variation to the otherwise aggressive punk lineup.
Good Riddance wasted no time in delivering an unrelenting barrage of melodic hardcore. Their politically charged lyrics and tight musicianship made for one of the most intense sets of the night. Songs like "Mother Superior" and "Weight of the World" resonated particularly well, with fans screaming along as fists and feet flew through the pit.
Strung Out followed, delivering a set that was equal parts technical precision and raw aggression. Their mix of metal-infused punk rock and blistering solos set them apart from the other acts on the bill. "Bring Out Your Dead" and "Matchbook" were standout moments, and the band's ability to blend melody with breakneck speed made for an exhilarating performance.
Lagwagon brought a blast of high-energy punk to the stage, delivering a set filled with fast riffs, humor, and raw emotion. Joey Cape’s vocals were as strong as ever, seamlessly carrying classics like “May 16,” “Violins,” and “Alien 8.” The band’s tight musicianship and relentless speed kept the crowd in constant motion, with circle pits forming for nearly every song. Cape’s witty banter between tracks added to the set’s charm, making for an enjoyable and engaging performance. The crowd’s enthusiasm was undeniable, as longtime fans belted out every word to their nostalgic anthems.
Less Than Jake followed up with a performance that transformed the festival into a full-on ska-punk party. Their brass section was electrifying, and their infectious stage presence had the crowd skanking non-stop. Songs like “The Science of Selling Yourself Short,” “All My Best Friends Are Metalheads,” and “Johnny Quest Thinks We’re Sellouts” ignited massive singalongs. The band’s playful energy, complete with confetti cannons and witty stage banter, made them one of the most entertaining acts of the day. Even those unfamiliar with their music couldn’t help but get swept up in the lively atmosphere.
Descendents closed out the opening acts with a blistering set that solidified their legendary status in punk rock history. Milo Aukerman’s voice carried the same punch it did decades ago, delivering classics like “Suburban Home,” “Hope,” and “I’m the One” with precision and passion. The band’s tight musicianship and no-nonsense approach had the crowd in a frenzy, moshing and shouting along to every lyric. The set was a perfect balance of their early hardcore influences and their later melodic tendencies, proving that the Descendents are just as relevant and vital as ever. It was a fitting way to lead into NOFX’s highly anticipated performance, ensuring the energy was at its peak.
NOFX Setlist and Performance
NOFX’s performance on the second night of their farewell tour was everything fans could have hoped for: chaotic, self-deprecating, and filled with the irreverent humor that has defined the band for decades. Fat Mike was in rare form, engaging the crowd with his usual mix of sarcasm and brutal honesty while the rest of the band locked in tightly behind him. The energy in the crowd was electric, with longtime fans embracing the moment and singing along to every word. Despite a few missteps and moments of sloppy musicianship, which are practically a trademark of NOFX shows at this point, the overall experience was pure punk rock bliss. Whether it was Fat Mike cracking jokes at his own expense or El Hefe bringing his signature energy to the stage, every element of the set felt like a proper farewell to an era-defining band.
The setlist was a dream for die-hard NOFX fans, spanning multiple albums and featuring both deep cuts and fan favorites. They kicked things off with "Linoleum," setting the tone for the night with its anthemic opening chords. "Stickin' in My Eye" and "Bob" followed shortly after, keeping the momentum high. "Leave It Alone" and "The Brews" got massive crowd reactions, while "Don't Call Me White" had the entire audience screaming along. The band also dug into tracks from So Long and Thanks for All the Shoes, playing "Murder the Government" and "It's My Job to Keep Punk Rock Elite." Midway through the set, they played "Eat the Meek," giving El Hefe a moment to showcase his ska-inspired chops. Closing out the night, they performed "Theme from a NOFX Album," "Reeko," and finally "Bottles to the Ground," leaving the crowd both exhausted and exhilarated.
As the night wrapped up, there was an undeniable sense that this was a truly special event—both a celebration and a bittersweet farewell. The imperfections in NOFX’s performance only added to the charm, serving as a reminder of why fans have stuck with them for decades. The festival atmosphere, stacked lineup, and sheer nostalgia factor made Day 2 an unforgettable experience. Whether it was the emotional weight of hearing these songs live for what might be the last time or simply the communal energy of thousands of fans coming together, there was something undeniably magical about the night. NOFX may be bowing out, but they did so on their own terms, and that’s exactly how it should be.
Day 3: Sunday 10/6 “The Final Show”
Das Klown
Kicking off the final night of NOFX’s farewell weekend was Das Klown, a long-standing staple of the Los Angeles punk scene. Their set was full of raw aggression and humor, channeling the spirit of classic punk while still injecting a bit of their signature theatricality. The crowd took a moment to warm up, but by the second song, small pits were forming, and fans were fully engaged. Their fast-paced performance featured a mix of deep cuts and fan favorites, including "Soapbox" and "Scumlord," which were met with enthusiastic singalongs. The band’s energy never wavered, with their frontman stalking the stage, sneering at the audience, and throwing in sarcastic quips between tracks. While they might not have been the biggest name on the bill, Das Klown’s presence set the perfect tone for a chaotic night. Their set closed with "Political Donkey," a biting critique of modern politics that had the audience both laughing and moshing.
We Are The Union
Ska-punk outfit We Are The Union took the stage next, bringing a much-needed burst of brass-driven energy to the night. Their infectious horn sections and high-energy performances got the crowd moving instantly, with skanking breaking out in multiple pockets across the venue. They opened with "You're Sick," which set the pace for a tight and engaging performance. Tracks like "Ordinary Life" and "Better Home & Garden State" showcased their ability to blend introspective lyrics with upbeat, danceable melodies. Vocalist Reade Wolcott’s stage presence was warm and engaging, frequently interacting with the audience and encouraging participation. They ended their set with "Boys Will Be Girls," a powerful anthem that resonated deeply with many in the crowd. While not everyone in attendance was a ska devotee, We Are The Union undeniably won over some new fans with their energetic and heartfelt performance.
The Flatliners
Canadian punk veterans The Flatliners followed, shifting the energy towards a heavier, more melodic punk sound. Their set featured a strong balance of older material and newer tracks, beginning with the fan-favorite "Eulogy." The band’s blend of gruff vocals and sharp guitar work kept the crowd engaged, with many belting out the lyrics word-for-word. Songs like "Monumental" and "Hang My Head" highlighted their ability to weave intricate musicianship into fast-paced punk rock, while "Resuscitation of the Year" stood out as one of the night’s most anthemic moments. Frontman Chris Cresswell’s delivery was as passionate as ever, and the band played with a tightness that only comes from years of relentless touring. As they closed out their set with "Meanwhile In Hell," it was clear that The Flatliners had left a lasting impression on both longtime fans and newcomers alike.
Codefendants
Codefendants, the genre-blending project featuring Fat Mike, Ceschi Ramos, and Sam King, provided one of the most unique sets of the evening. Mixing elements of punk, hip-hop, and alternative rock, their performance was a stark contrast to the traditional punk acts on the bill. They opened with "Fast Ones," immediately showcasing their dynamic range and unconventional approach. Tracks like "Disaster Scenes" and "Abscessed" blended melancholic melodies with raw lyrical honesty, creating an atmosphere that was both introspective and high-energy. Fat Mike’s presence on stage was notably different from his usual NOFX antics, as he seemed more focused on the music and message. The audience reaction was mixed at first, but by the end of their set, the crowd had embraced their eclectic style. The final song, "Def Cons," brought a thunderous response, closing out their set on a high note.
Fishbone
Fishbone brought their genre-defying chaos to the stage next, proving once again why they’ve remained one of the most influential acts in punk and ska history. Their set was a whirlwind of energy, funk-infused grooves, and relentless stage presence. Opening with "Party at Ground Zero," they immediately had the audience in the palm of their hands. Angelo Moore’s frantic energy and charisma made every song feel like an event, from the politically charged "Sunless Saturday" to the groove-heavy "Everyday Sunshine." The band’s musicianship was impeccable, with seamless transitions between punk, ska, funk, and even jazz-infused elements. By the time they launched into "Ma and Pa," the entire crowd was moving, proving that Fishbone's influence and appeal remain as strong as ever. Closing their set with "Servitude," they left the stage to thunderous applause, setting the bar high for the rest of the night’s performances.
With the opening acts delivering a diverse and energetic range of performances, the crowd was primed for what would be a historic final night. The anticipation for NOFX’s last-ever show continued to build, with the atmosphere becoming more electric by the minute.
Subhumans
British punk legends Subhumans brought a dose of anarcho-punk energy to the night, delivering a blistering set that reminded everyone why they remain one of the most politically charged bands in the genre. Kicking things off with "Apathy," the band immediately commanded attention with their breakneck speed and razor-sharp lyrics. Songs like "Mickey Mouse Is Dead" and "Big Brother" were met with furious circle pits, as frontman Dick Lucas's rapid-fire vocal delivery kept the crowd engaged. The band’s message-heavy songs felt as relevant as ever, with their critiques of society hitting home for many in the audience. Their performance was tight, intense, and unrelenting, making them one of the standout acts of the night.
Frank Turner
Frank Turner and The Sleeping Souls offered a welcome change of pace, blending folk-punk sensibilities with arena-ready anthems. Opening with "Four Simple Words," Turner’s signature storytelling and infectious energy had the crowd singing along from the get-go. Tracks like "The Road" and "Recovery" showcased his ability to craft deeply personal yet universally relatable songs. Turner’s charisma and warmth shone through, with plenty of crowd interaction and a heartfelt speech about the importance of live music. Closing with "I Still Believe," he left the stage to thunderous applause, proving once again why he’s one of punk’s most beloved modern troubadours.
The Vandals
The Vandals kept the energy high with their signature blend of irreverent humor and high-speed punk. Opening with "It's a Fact," they wasted no time launching into a set filled with fan favorites like "My Girlfriend’s Dead" and "I Have a Date." Their stage banter was as entertaining as their music, with bassist Joe Escalante and guitarist Warren Fitzgerald trading jokes between songs. The crowd was fully engaged, singing along to every lyric and laughing at the band’s self-deprecating humor. Closing with "Anarchy Burger (Hold the Government)," The Vandals once again proved why they’re one of the most fun and enduring acts in punk rock.
Pennywise
Pennywise delivered one of the most anticipated sets of the night, bringing their signature blend of melodic hardcore and West Coast punk to the stage. Opening with "Wouldn't It Be Nice," they wasted no time in getting the crowd moving. Classics like "Fuck Authority" and "Alien" had the entire venue singing along, while "Society" saw one of the biggest circle pits of the evening. Frontman Jim Lindberg’s passionate vocals and Fletcher Dragge’s aggressive guitar work made for an electrifying performance. The set culminated in a raucous rendition of "Bro Hymn," with the entire audience chanting along in unison, creating a powerful and emotional moment to close their set.
NOFX's Final Set
Witnessing NOFX’s final show was an emotional experience, the weight of history pressing down on both the band and the audience. It wasn’t just another concert—it was the end of an era for punk rock and for thousands of fans who grew up with their music. Tears streamed down my face as the reality set in: this was the last time NOFX would take the stage together. The camaraderie, the humor, and the unfiltered chaos that defined them for decades would now be a memory. The significance of this night was immeasurable, and being there to witness it firsthand was a privilege I will never forget.
Their final setlist was a masterclass in NOFX’s legacy. They played "Linoleum," "Bob," and "The Separation of Church and Skate" with the same reckless abandon that made them legends. "Don’t Call Me White" had the crowd belting every word, while "Stickin’ in My Eye" sent the pit into a frenzy. Tracks like "Leave It Alone" and "The Idiots Are Taking Over" carried an added poignancy, as if the band was passing the torch to the next generation of punks. They dug deep into their discography, playing "Eat the Meek," "Soul Doubt," and even the rarely heard "Whoops, I OD’d." The inclusion of "Seeing Double at the Triple Rock" and "Murder the Government" ensured that their signature irreverence and political edge remained intact. As they played "We Did It Our Way" to close the night, the emotions in the venue were overwhelming. The band, visibly moved, took one final bow as the crowd chanted their name.
As the dust settled and the final chords of "We Did It Our Way" faded into the night, there was a collective sense of bittersweet finality. Fans hugged, cried, and reminisced about the memories they had built around NOFX’s music. The band lingered on stage, taking in the moment, as if trying to make it last just a little longer. Then, one by one, they walked off, leaving behind a stage that had just hosted the last chapter of their storied career. The venue slowly emptied, but the impact of what we had just witnessed would stay with us forever. This wasn’t just the end of a band—it was the closing of a movement, a testament to punk rock’s resilience, and a reminder that NOFX truly did it their way.
