LIVE REVIEWS
There is a clear distinction between warm and cool in the world of Ivan Cornejo. Headlining the Kia Forum on the first of two sold out nights at the Los Angeles arena, the música mexicana artist and Southern California native appeared on stage Saturday night through a bold gleam of orange light that wrapped around his silhouette. Opening with “Atención,” from his Billboard 200-charting (No. 17) “Mirada” album, Cornejo’s first interaction with his audience is overwhelmingly optimistic — “I have an idea, I don’t know if it’s good or bad,” the 21-year old sings in the guitar ballad.
Color plays an important role throughout the progression of the “Mirada” tour setlist, constructed mostly of songs from the 2024 album, and streaming favorites like “Está Dañado” and “La Curiosidad” from his sophomore LP “Dañado.” The lights switched to a marine blue for “Llamadas Perdidas,” from his 2021 debut “Alma Vacía,” a color that would come to signify heartbreak. If the song was about losing yourself by losing your first love, the glow was blue and starry. To represent hope and a revived outlook on life and relationships, the stage became the sun, and the arena of teenage hopefuls radiated yellow and orange. The only color that deviated from that spectrum was pink for the “I’m currently in love” songs. In the audience, more than a few fans carried signs with the same slogan: “You healed hearts you didn’t break.”
By the time he signed his first major label record deal with Interscope at the age of 19 (the result of a bidding war), Cornejo was already known as a defining voice for Gen Z Latinos thanks to his emotive songwriting and unique blend of regional Mexican and alternative rock music. Some of these influences were showcased in the pre-concert playlist of Billie Eilish, the Marias and Tame Impala, and nostalgic classics like Bobby Pulido’s 1995 hit “Desvelado.”
You wouldn’t necessarily identify Cornejo as a rock star, but there are certainly commonalities. Throughout the hour and thirty minute show, he leaves a lot of room for guitar solos and power chords, especially for the electric guitar, which is at the core of his three-album catalog. You can easily recognize a song is his by the twangy inflection of his voice. A defining quality of the best música mexicana artists is their ability to sing clean register breaks with a whining tone and with great force (Vicente Fernández was known for his intense vibrato) — Cornejo is no different.
The night went without long speeches but he did take the time to address his L.A. fans directly, emphasizing the importance of community and to “stay strong during these rough times.” Proceeds from the show are going to helping raise funds for the Coalition for Humane Immigrant Rights of Los Angeles (CHIRLA), who are supporting families impacted by the Trump administration’s raids and mass arrests of migrants by U.S. Immigration and Customs Enforcement (I.C.E.). The crowd erupted in ceiling-shaking shrieks and applause with his point proven: “Los Angeles, you guys are the loudest!” he shouted.
Cornejo is fulfilling the end of the North American leg of his “Mirada” tour — which started with his debut at Coachella — on Sunday night. He will perform continue performing in cities across Latin America starting July 5 in El Salvador.
LIVE REVIEWS
Arriving at The O2 for the first night of Radiohead’s London residency, we walk in under Stanley Donwood artwork lining the walkway and the lines of the band’s bleak modern chant “Fitter Happier” printed on a huge banner hanging from the ceiling of the former Millennium Dome. The moment instantly brings back memories of walking into Oasis’ Live “25” tour earlier this summer. This is the other major rock return of the year and the atmosphere carries a different kind of excitement, yet the intensity feels just as real. Instead of bucket hats and throwing drinks into warm air, we have cold weather and a slow shuffle through the night to gather in the dark. Toniiiiiight, I’m a pig in a cage on antibiotics.
It almost feels unreal that nine full years have passed since Radiohead’s last album, the rich and sorrowful “A Moon Shaped Pool”, and that they have not toured since 2017. In between, we have seen several side-projects, including Ed O’Brien’s overlooked but inspired solo run as EOB and the way Thom Yorke and Jonny Greenwood nearly recreated Radiohead’s spirit under a different name through the sharp jazz-rock of The Smile, as well as a wave of controversy.
After performing in Tel Aviv in 2017, questions grew louder about the band’s connection to Israel as the horrors of the genocide in Gaza intensified. Attention landed on Greenwood’s collaboration with Dudu Tassa, an Israeli musician who has played for the IDF, and on Yorke’s later comments responding to criticism. The guitarist had joined anti-government protests in Israel, where his wife is from, and the band recently made their views clear again by speaking out against Netanyahu’s regime, insisting that music should be something that unites people from every culture. That idea guides the show tonight, where there is no sign of protest or boycott.
The audience surrounds the stage, which sits in the center to create a more personal and absorbing feeling than most massive arena shows ever manage. A flickering vocoder opens the room and builds tension before the band walk out and jump straight into old-school territory with the raw guitar gloom of “The Bends” opener “Planet Telex”. It is one of many choices designed to thrill the crowd from a group not always associated with this kind of approach, and the packed venue screams back “everything is broken. why can’t you forget?” as a shared release against everything falling apart in the world around us.
With a “busking approach” guiding the tour, the band rehearsed more than 70 songs and have performed around 43 so far, so this is not the predictable hit conveyor belt of Oasis’ shows. It feels refreshing to never know what is coming next. The setlist leans heavily on the treasures from “OK Computer” and “In Rainbows” and gives equal space to the once-dismissed but now appreciated “Hail To The Thief”. It creates a kind of Radiohead-style hit parade, without “Creep” of course, and includes the occasional glammed-up oddity to let the show breathe.
There is the roaring political fear of “2+2=5”, the huge and aching sweep of “Lucky”, the pulsing electronic rush of “15 Step” and the joyful sing-along of “No Surprises” anchoring the early part of the performance. This section also includes “Sit Down. Stand Up.” with a new soft happy hardcore ending, “Bloom” from the fragile “The King Of Limbs” that now carries a brighter neon energy, and “The Gloaming” flowing into “Kid A”, giving the night a moment to sink before everything intensifies again.
There is not a single chance for a toilet break from that moment onward. From the gentle pain of “Videotape”, to the wild three-part surge of “Weird Fishes/Arpeggi” into “Idioteque” and “Everything In Its Right Place”, to the guitar-driven “In Rainbows” songs and the massive first-act finale of “There There”, every moment lands exactly how a Radiohead fan would hope. The visuals also look spectacular.
Then we reach the reward of a seven-song encore that reads like fantasy on paper, complete with the newly viral “Let Down”, a playful return to “a song we wrote on a freezing cold farm in 1994” with the indie powerhouse “Just”, and the huge final blow of “Karma Police”. This show becomes the cinematic and artistic contrast to Oasis’ carefree chaos, capturing that feeling of “standing on the edge” and letting everything wash over you. The entire night carries a fierce energy and a well-judged sense of scale, offered with warmth and intention, and Yorke leans fully into his rockstar presence as the band rotate around the stage to engage each part of the arena. For a group that once cringed at the idea of “arena rock”, no one performs it better. A new album and another night like this would be welcome as soon as possible.
‘Planet Telex’
‘2 + 2 = 5’
‘Sit Down. Stand Up.’
‘Lucky’
‘Bloom’
‘15 Step’
‘The Gloaming’
‘Kid A’
‘No Surprises’
‘Videotape’
‘Weird Fishes/Arpeggi’
‘Idioteque’
‘Everything In Its Right Place’
‘The National Anthem’
‘Daydreaming’
‘Jigsaw Falling Into Place’
‘Bodysnatchers’
‘There There’
‘Fake Plastic Trees’
‘Let Down’
‘Paranoid Android’
‘You and Whose Army?’
‘A Wolf at the Door’
‘Just’
‘Karma Police’
