Never underestimate a grassroots concept developed out of passion and seen through with do-it-yourself determination.
Twenty years ago, Riot Fest debuted as a predominantly local event staged across two days at the now-mothballed Congress Theater. Advertised as “The Largest Punk Fest in North America!,” it counted the Dead Kennedys, Misfits, Bouncing Souls and Germs as its main draws. Organizer “Riot Mike” Petryshyn admitted he thought it would be a one-and-done affair since he flew by the seat of his pants while putting it together. Sometimes, that’s the best strategy.
Hundreds of artists, hundreds of thousands of fans and plenty of back-and-forth discussions with area leaders later, Riot Fest flourishes as a destination event. Having long ago expanded its punk-centric focus, it attracts some of the bigger names in rock. And beyond. With Lollapalooza laser-focused on pop, hip-hop and electronic music and the Pitchfork Music Festival kaput, the three-day extravaganza has also cemented its role as the go-to option for listeners who love loud guitars, rambunctious energy, edgy sloganeering and live bands.
Scheduled for Sept. 19-21 in Douglass Park, Riot Fest 2025 offers something for everyone from dyed-in-the-wool oldsters to Gen Z and those in between. Such inclusivity is further reflected by family-friendly policies and free admission for children ages 5 and under.
While this 20th anniversary year’s lineup leans into emo, metalcore and a healthy amount of nostalgia, it celebrates Chicago — its sole location since organizers stopped holding Riot Fest in other cities in 2017 — in a big way.
A dozen area artists are on the schedule. The Academy Is…, Alkaline Trio, Effigies, Pegboy, Smoking Popes, Dehd, Footballhead, Knuckle Puck, Feral Tact, Tossers, Harms Way and Screeching Weasel all represent a local scene that stretches back decades.
For better or worse, the “album play” concept, in which artists perform one of their LPs in full, resumes with 20 participants. The usual carnival rides and wedding chapel will be there as well. You might be too busy zipping from stage to stage to partake in the extraneous activities. Here are the musicians to see and a few red flags to avoid.
Friday
WHO TO WATCH: If you missed “Weird Al” Yankovic in June at Ravinia, here’s your chance to see the artist Tribune writer Christopher Borrelli rightly identified as “the last of the great parody kings, the closing chapter, and the pinnacle, of a delightfully ridiculous tradition.” Kudos to Riot Fest for allotting him a 90-minute set. Stiff Little Fingers draws the short straw and performs during Yankovic’s slot. Too bad. The Irish group provided a blueprint for Green Day and countless other pop-inclined punk bands. The Didjits keep on keepin’ on more than four decades after first repping Mattoon with manic shows, irreverent lyrics and hot-wired fury that found a home on local imprint Touch & Go Records. For all its promise, the Hold Steady never transcended its bar-band status. That’s OK. Motor-mouthed vocalist-conversationalist Craig Finn and company will give everyone coming-of-age tales to cheer from their emphatic concept album “Separation Sunday.” Former Dischord Records stalwarts Shudder to Think and co-ed indie rockers Rilo Kiley, respected collectives whose transitions to major labels preceded their split, appear in reunited guises. As they edge toward their 55th anniversary, Sparks never quit. The duo’s catalog doubles as the equivalent of a speakeasy password to a secret history of arty experimentation and eclectic pop.
CAVEAT EMPTOR: The Pogues stand as the finest Celtic-oriented punk band of their era. But without their heart and soul, fallen troubadour Shane MacGowan, as well as several other key contributors, they’re a shell of their former selves. The back-to-back scheduling of singing clown Puddles Pity Party and parody metal act Mac Sabbath misses its intended comedic target. Badly.
Saturday
WHO TO WATCH: Feral Tact is still in embryonic stages of development, yet the local duo’s knack for song structure and stylistic variety — encompassing scuffed-up country, jangle rock, ska and more — make for an earnest racket. Led by rousing singer Ian Shelton, Militarie Gun also plays an early afternoon slot. The Los Angeles post-hardcore band’s efforts surge with odd time signatures, taut rhythms and accessible rawness that pivots into fist-pumping frenzy. For visual escapism, Halloween costume ideas, social satire and silly laughs, Gwar and its bloody sci-fi battles seldom disappoint. Also in the ever-reliable category: North Carolina veterans Superchunk, armed with scads of catchy, should-have-been power-pop hits and another recent batch of solid material in the form of the “Songs in the Key of Yikes” LP. Once upon a time, Weezer concerned itself with adding to its legacy. Here, the quartet seizes on the voracious appetite for nostalgia by interpreting their classic “Blue Album” and embarking on a theatrical “Voyage to the Blue Planet.” Celtic punk revivalists Dropkick Murphys kick up heels with barroom bluster and hold a local advantage in that they delivered an unofficial Blackhawks anthem (“I’m Shipping Up to Boston”). If his stand at Salt Shed last April proves any indication, Jack White will let rip. His electrifying guitar techniques, animated spontaneity and crack support band deserve a headlining spot.
Gwar performs at the Rock stage during Riot Fest on Sept. 16, 2016, at Douglas Park. (Alyssa Pointer / Chicago Tribune)
CAVEAT EMPTOR: Devoid of the three co-founding Wilson brothers and Al Nardine, the group calling itself the Beach Boys qualifies as borderline farce. The first three Buzzcocks LPs remain pop-punk templates, but with Steve Diggle as the only active connection to that era, the modern version of the trio is a glorified tribute band.
Sunday
WHO TO WATCH: Mirroring the Midwest’s blue-collar toughness and relentless factory grind, Pegboy retains three-quarters of its original lineup and represents another direct link to an age when Touch & Go — and sister label Quarterstick — carried serious underground weight. Say you can forgive the combative Ben Weasel for a repugnant 2011 incident involving a female fan. Screeching Weasel is still a gamble, though its formative work remains the foundation on which Friday headliners Blink-182 staked a fair amount of its career. One wonders what the Linda Lindas and Lambrini Girls think of his presence on the bill. The former, an all-female quartet whose oldest member cannot legally drink, channels joy, protest and optimism against all odds with fizzy, melodic tunes that address everything from racism to isolation and identity. England’s outspoken Lambrini Girls amplify the rage yet retain wild-eyed euphoria with pointed screeds aimed at gender inequalities, institutional corruption and the upper crust. The fest closes with a potentially potent one-two-three punch. Idles, the leading torchbearers of visceral post-punk, understand the importance of compassion, community and intelligent resistance. Their indefatigable spirit, along with their big-hearted hooks and direct messages, seems to grow as the set develops. Pre-“grunge” noisemakers Jawbreaker are eight years into Act II. Even so, its literate and tension-ridden music lands with age-defying vitality and influence. In terms of relevance, smarts, enthusiasm and fame, Green Day wears the crown. Like every other socially inclined and politically motivated artist on the docket, the California-based trio won’t hurt for inspiration.
CAVEAT EMPTOR: Mmm… Did soft-pop boppers Hanson get erroneously scheduled Sunday instead of Friday on the Yankovic stage as part of an ironic laugh? Rap-rock is one retro trend that should stay in the past. Looking at you, Gym Class Heroes.
What else to know
BASICS: Riot Fest runs 11 a.m. to 10 p.m. Friday through Sunday in Douglass Park. The entrance and box office are located at the intersection of Ogden Avenue and Sacramento Boulevard. Re-entry is not permitted for general admission ticket holders. VIP, Deluxe and Deluxe+ passes require users to pick up cloth wristbands at the box office before entry; they allow in and out privileges. On-site lockers with charging capabilities are available for rental. Free water stations throughout the grounds allow for plastic bottle refill. Cash and credit cards are accepted by most vendors. Food will include vegetarian and vegan options. Children 5 years and younger get in free. The festival proceeds rain or shine.
ALLOWED ITEMS: Standard-sized backpacks, bags and purses are allowed. They don’t have to be clear but bags and belongings are subject to search before entry. Also blankets, camping/stadium seats, earplugs, factory-sealed E-cigs, strollers and soft-sided wagons. For a full list of allowed and prohibited items, visit riotfest.org/chicago/faq
GETTING THERE: The California stop on the CTA Pink Line is .71 miles from the entrance. The 82 Kimball-Homan bus stops several blocks from the festival. Bicyclists can use a bike parking lot staffed by Working Bikes just north of Odgen Avenue between Albany Avenue and Sacramento Boulevard. Hopping in a taxi or rideshare will also be less frustrating than driving and hunting for scarce parking. The official rideshare pickup and dropoff is at Ogden and S. Farrar Drive.
TICKETS: General admission daily passes start at $124.98; three-day passes begin at $339.98. VIP passes start at $179.98/day ($499.99/three-day) and feature unlimited re-entry and expedited entry plus unlimited access to the VIP Lounge with exclusive food and beverage options, air-conditioned flushable restrooms and other amenities. Deluxe ($449.98/day; $1,029.98/three-day) and Deluxe+ ($759.98/day; $1,759.98/three-day) options include all VIP features and add access to dedicated viewing areas, complimentary snacks, personal guest services and more. General admission tickets cover admission; food and drink is extra. Avoid online fees by buying general-admission tickets in cash at Bucket O’Blood (3182 N. Elston Ave.) for $115 for a one-day ticket and $340 for a three-day pass. More at riotfest.org
Naked Raygun, Alkaline Trio will play Riot Fest anniversary aftershows
Bob Gendron is a freelance critic.