LOS ANGELES, CA- I’ve been to many concert venues in Los Angeles, but one that eluded me until recently was The Ford. Over a century old, it began as a community theater and has managed to retain that spirit, regularly hosting local artists, film screenings, and larger touring acts. It’s a smaller, more intimate “baby bear” compared to the nearby Hollywood Bowl and the Greek Theatre. Yet, the amphitheater feels epic, nestled into a canyon with rugged mountain cliffs and fortified towers that lend it the aura of a medieval castle. I was fortunate enough to catch my first show at The Ford with The Airborne Toxic Event.
Formed in Los Angeles in 2006, The Airborne Toxic Event has always thrived at the intersection of storytelling and grand, cinematic soundscapes. Led by Mikel Jollett, the band quickly gained a devoted following with emotionally charged songs that touch on themes of love, loss, and resilience. Known for the anthemic “Sometime Around Midnight,” which became a breakthrough hit, their music often draws from Jollett’s personal experiences and literary background—he’s also a published author. In recent years, the band has continued to evolve, with their latest album, Glory, released on September 6th, 2024, signaling a mature phase that dives deep into introspective themes while experimenting with orchestral and layered sound. Their recent tour has highlighted this rich sound palette, often featuring collaborations with classical ensembles, enhancing the band’s already evocative live presence.
At The Ford, the addition of the Promenade Quartet, a string ensemble from LA, added layers of poignancy, merging rock with classical elements that underscored the depth and complexity of their newer material. Their presence added layers of emotion and depth to the music. I’ve always loved when a rock band incorporates non-traditional rock elements into their music. Often only heard on an album, it was beautiful and moving to experience this element live. Songs like “Wishing Well” and “5th Day” gained a subtle yet rich texture thanks to the quartet.
Their set leaned heavily on songs from their latest album. Although the album hasn’t been out long, the crowd already recognized the opening chords of “Glory” and “Our Own Thunder Road.” Those songs drew cheers like old favorites. Throughout the night, Jollett’s voice carried the emotion of every line as he sang songs about traumatic upbringings and the death of parents. It’s not the kind of thing you fake—he knows how to walk the line between vulnerability and intensity.
When they launched into “Hell and Back,” it was like a spark that set off the whole amphitheater. The energy shot up, and everyone was on their feet, dancing, fists in the air. As the song reached the call-and-echo section, Jollett played the crowd like an extra instrument, leading us in a chant of “Na na na na na,” then cheekily declaring, “Los Angeles is doing much better than San Francisco!” The cheers that followed were half playful, half tribal, as if he’d thrown a little extra gasoline on an already roaring fire. The disco balls behind the band lit up, and the twinkling effect spread across the crowd, pushing the energy into the exosphere.
They kept that high anthemic rock energy going all night. At one point, Jollett told us, “Let’s turn this into a real amphitheater,” before launching into “All I Ever Wanted,” a song accompanied only by the quartet. The strings carried an aching, cinematic quality before the whole stage blew up in a loud rock anthem.
It’s clear they sought balance when picking their setlist. To contrast their rock anthems, they set up one of the night’s most unforgettable moments—Mimi Peschet’s haunting violin solo that opened “Sometime Around Midnight.” The spotlight caught her, casting long shadows across the stage while the other band members stood watching with smiles of admiration on their faces. When the rest of the quartet joined in, chills ran down my spine. The song unfolded like a story, it felt like time stood still, suspended in those aching notes.
The chemistry within the band was undeniable, like a group of friends who’ve spent countless hours not just playing together, but challenging and teasing each other. At one point, Mikel made a point to announce that it was drummer Daren Taylor’s birthday, insisting he play a drum solo—much to Taylor’s chagrin but the crowd’s amusement. But that’s the kind of night it was—loose, intimate, and real.
The encore began softly, with Mikel and Mimi easing into an acoustic version of “Note to Self.” The stripped-down arrangement was tender and raw. Gradually, the rest of the band joined in, the sound swelling until it wrapped around the entire amphitheater. They even threw in a spirited cover of “I Fought the Law,” dedicating it to Donald Trump—a move that drew an audible mix of cheers and laughter from the crowd. As the show neared its close, family members watched from the wings while the band played “Missy,” a local favorite that brought the night to a familiar and heartwarming conclusion.
Reflecting on Mikel Jollett’s opening remark about how it felt like we were all just friends hanging out in a living room, I couldn’t think of a better way to sum up the night. The Ford’s intimate setting, with its natural acoustics and enchanting atmosphere, made the show feel incredibly personal—especially with Daren’s birthday and all their families in attendance. I’m glad that my first concert at The Ford was such a special one.
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