The Cynthia Woods Mitchell Pavilion in The Woodlands, Texas, was buzzing with anticipation as New Found Glory kicked off the night with their signature pop-punk energy, sending waves of nostalgia through the audience, immediately getting the crowd warmed up. Jimmy Eat World followed with their emotionally charged melodies setting the perfect stage for the headliners, The Offspring.

New Found Glory Deliver Pop-Punk Nostalgia

    New Found Glory took to the stage with a performance that reminded fans why they’ve been one of the defining names in pop-punk for more than two decades. The setlist was tight, focused and full of the songs that shaped a generation of Warped Tour veterans, blending youthful angst with sing-along hooks that had the entire crowd moving from start to finish.

    The band kicked things off with “Understatement,” a perfect opener that immediately charged the Pavilion with energy. From the first chords, fans were bouncing and screaming every word, setting the tone for the night. That energy carried directly into “All Downhill From Here,” with its infectious riffs and punchy chorus creating one of the loudest sing-alongs of the show.

    Classic crowd-favorite “Hit or Miss” followed, delivering that early-2000s nostalgia that had longtime fans grinning ear to ear. The band balanced raw emotion with their signature upbeat vibe, showing they can still make every note feel urgent and heartfelt. Next up was their most recent single release “100%,” which will be on their new album scheduled to be out next year and is sure to be a crowd favorite,

    The momentum kept building with “Dressed to Kill,” a staple that had couples swaying and fans shouting along to every line. Lead vocalist Jordan Pundik took a few moments between songs at this point to tell the crowd that their guitar player Chad GIlbert was not with them on this tour because he was battling cancer and that he was kicking it's ass. Then came the cheeky “Intro,” which the band used as a fun breather before launching into the grand finale.

    Of course, no New Found Glory show would be complete without “My Friends Over You.” As the final song, it was everything fans hoped for - a cathartic, joyous eruption of voices, guitars and drums. It turned the venue into one giant chorus, with fans young and old jumping, pointing and shouting in unison.

    New Found Glory may be veterans of the scene, but they played with the energy of a band still hungry to prove themselves. This setlist, packed with essentials and sprinkled with surprises, was a love letter to their fans and their own enduring legacy. Pop-punk might grow older, but in the hands of New Found Glory, it will never grow up.

Jimmy Eat World Ignite Crowd

    Next up, Jimmy Eat World brought a wave of nostalgia and unshakable energy to the Pavilion, delivering a set that reminded everyone why their music has resonated for more than two decades. From the moment the lights dimmed and the opening chords of “Pain” cut through the air, the crowd was instantly transported into the raw emotion and anthemic soundscapes that define the band.

    The momentum carried into “Just Tonight…” and “Let It Happen,” where frontman Jim Adkins’ vocals soared with both urgency and clarity. Longtime fans were singing every word, proving that these songs remain just as impactful as when they were first released. “Work” and “Futures” highlighted the band’s knack for weaving hope into melancholy, with layers of guitar that filled the venue in a way only Jimmy Eat World can.

    One of the night’s early high points came with “Lucky Denver Mint,” the track that first gave the band wider recognition back in the late ’90s. The driving rhythms and ringing guitar lines felt timeless, carrying a weight that showed just how deeply their music has aged into modern rock. It was around this time in the set that Jim Adkins took a moment to tell the crowd that their first time to play in The Woodlands was back in 95 when they had performed in a flooded out house for a private event.

    The energy spiked again with the punchy “Bleed American” and “Big Casino,” both greeted by thunderous cheers. The crowd couldn’t help but move along to the pulsing basslines and sing-along choruses, while Jim Adkins’ guitar interplay with Tom Linton created that signature Jimmy Eat World wall of sound. Newer track “Something Loud” proved itself a worthy addition, showing the band’s ability to still craft stadium-ready anthems that feel fresh without losing their essence.

    Closing out the set, “A Praise Chorus” turned the room into one collective voice, with fans belting out every lyric as if they were part of the band themselves. The finale of “Sweetness” and “The Middle” was nothing short of euphoric, cementing why these songs remain defining entries in alternative rock history. The encore-worthy energy didn’t need an encore - the band left it all on the stage and left the crowd buzzing.

    Jimmy Eat World’s performance wasn’t just a trip down memory lane - it was proof that their music is as alive, urgent and resonant today as it’s ever been.

The Offspring Bring the Heat

    As darkness engulfed the Cynthia Woods Mitchell Pavilion and the stage hands prepped the stage, the crowd knew The Offspring were ready to "come out and play" when an unfimiliar sight materalized over the crowd in The Woodlands. A miniature The  Offspring blimp sailed its way over the rows of fans who sat mesmerized by the unexpected sight that was scrolling the word HOUSTON in led's on a marquee that hung from underneath it. Further adding to the crazyness of the night the crowd and the jumbo video screens played a game of Kiss Cam, Head Banging Cam, Fuck You Cam and Booty Cam, much to their delight. As if this wasnt enough there was a T-shirt cannon and an Upgrade Ape which made his way through the lawn crowd looking for the 2 lucky fans which received a reserve seat upgrade.

    From the moment they took the stage The Offspring light up the night with their high-energy mix of hits and surprises. The Offspring proved they still know how to ignite a crowd, blasting through a set that perfectly balanced fan favorites, deep cuts and unexpected twists.

    The band wasted no time setting the tone, opening with the relentless energy of “Come Out and Play” and “All I Want.” From there they leaned into fan-favorite anthems like “Want You Bad” and the underrated “Looking Out for #1,” with frontman Dexter Holland and guitarist Noodles commanding the stage with effortless chemistry. Songs like “Staring at the Sun” and “Original Prankster” kept the momentum alive, while “Hammerhead” brought a heavier edge that got fists pumping across the venue.

    One of the night’s highlights came in the middle of the set when the band unleashed a wild string of covers. Their takes on “Electric Funeral” and “Paranoid” by Black Sabbath, a rip through Ozzy’s “Crazy Train” and even a nod to Edvard Grieg’s “In the Hall of the Mountain King” showcased both humor and musicianship. A punked-up spin on the Ramones’ “I Wanna Be Sedated” fit seamlessly into the chaos, reminding everyone of the band’s roots.

    After the playful detour, The Offspring dove back into their own catalog with “Gotta Get Away,” a fiery drum solo and a moving performance of “Gone Away.” Holland’s piano-driven 2021 version, blended with a snippet of the raw 1997 original, struck a particularly emotional chord with the audience.

    The final stretch was pure party mode, with the crowd shouting along to “Why Don’t You Get a Job?,” “Pretty Fly (for a White Guy),” and the generational anthem “The Kids Aren’t Alright.”

    Returning for the encore, the band unleashed “You’re Gonna Go Far, Kid” and their signature closer “Self Esteem.”

    With a setlist that mixed nostalgia, energy, humor and heart, The Offspring proved once again why they’ve remained punk-rock stalwarts for three decades. It wasn’t just a concert; it was a celebration.

The Offspring:
Thunderstruck (AC/DC song) From Tape
Come Out and Play (1994)
All I Want (1997)
Want You Bad (2000)
Looking Out for #1 (2024)
Staring at the Sun (1998)
Original Prankster (2000)
Hammerhead (2008)
Make It All Right (2024)
Bad Habit (1994)
Electric Funeral / Paranoid (Black Sabbath cover)
Crazy Train (Ozzy Osbourne cover)
In the Hall of the Mountain King (2021) (Edvard Grieg cover)
I Wanna Be Sedated (1999) (Ramones cover)
Gotta Get Away (1994)
Drum Solo
Gone Away (2021 Version with snippet of 1997 version)
Why Don't You Get a Job? (1998)
Pretty Fly (for a White Guy) (1998)
The Kids Aren't Alright (1999)
Encore:
Lullaby (2021) From Tape
You're Gonna Go Far, Kid (2008)
Self Esteem (1994)

Jimmy Eat World:
Pain (2004)
Just Tonight... (2004)
Let It Happen (2008)
Work (2005)
Futures (2004)
Lucky Denver Mint (1999)
Bleed American (2001)
Big Casino (2007)
Something Loud (2022)
A Praise Chorus (2002)
Sweetness (2002)
The Middle (2001)

New Found Glory:
Understatement (2002)
All Downhill From Here (2004)
Hit or Miss (2000)
100% (2025)
Failure's Not Flattering (2004)
Dressed to Kill (2000)
Intro (2004)
My Friends Over You (2002)