Slide Away 2026 @ The Hollywood Palladium

Photos by Dylan Simmons. Words by Sylvia Ansley & Dylan Simmons.

Founded in 2024 by Nicky Palermo of Nothing, annual shoegaze festival Slide Away continues its reputation of bringing back bands from the dead. This year, English shoegaze pioneers Chapterhouse headlined alongside American ‘90s alt legends Hum, both of which reunited in honor of Slide Away’s third installment, performing live for the first time in years and rocking LA’s iconic Hollywood Palladium like it was 1995. 

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Friday, 5/29/26

Chapterhouse by Sylvia Ansley

Chapterhouse was previously an unknown to me. I quickly listened to their most streamed songs while grabbing my pre-concert chai and rushing to the Palladium. Finding my way through the crowd with the increasing impression that my chai was not worth the tardiness, I found myself thinking, “Wow, this sounds a lot like My Bloody Valentine.” But to compare would only diminish Chapterhouse’s role in the creation of what we now know as shoegaze. The song I was listening to was “Treasure,” off of their first album, Whirlpool, Before and After. First released in 1989, members Andrew Sherriff (vocals, guitar), Stephen Patman (vocals, guitar), Simon Rowe (guitar), John Curtis (bass), and Ashely Bates (drums) made the jump from school friends to band members by moving to London to create Whirlpool. “Treasure” reminded me of fellow shoegaze legend MBV, because of that elongated droning style of guitar playing that sounds more like a living creature than a riff. But the charging drums that drove the song brought my mind back to the present. Captivated by the song’s tempo and rock-infused drums, I realized just how influential their style was to modern shoegaze and bands like Nothing.

God, England really did have that signature sound. I had never heard “Breather” before, but instantly I felt as if I had just stumbled into an old playlist of mine. With a rhythm like a cool older brother to “In Between Days” by The Cure, I felt the ley lines of England’s various rock scenes converging upon this song. An oscillating guitar adorns the fast-paced drums and Sherriff’s sleepy voice to create a sound that both makes you want to jump around and stare up at the ceiling. 

“Mesmerize” is Chapterhouse’s most popular song on Spotify. Usually, you can discern the big hits from the niche ones by judging the crowd’s reaction. But my impression of this song was its stark contrast to the other songs off of Whirlpool, Before and After. I found myself thinking about later subgenres like triphop and even vaporwave. This was the next phase of Chapterhouse shining through. 

Unable to be contained within the shoegaze genre, their later album Blood Music is a melting pot of genres that can be described from anything from triphop to acid rock. I suspect that the band prioritized playing their more shoegaze-aligned pieces for Slide Away, but listening to this evolution of sound after the fact only deepened my appreciation for the band. Slide Away opened my eyes to an undersung hero in England’s ‘80s and ‘90s alternative scene. 

Nothing by Sylvia Ansley

The founder of Slide Away reclaimed their stage once again. In recent years, Nothing has taken a hard left from their original sound, embracing a much softer interpretation. A favorite of mine from their new album is “the rain don’t care.” The same echoing guitar is still present, but instead of being soaked in distortion, this song features an acoustic guitar. Nothing’s new album almost has a hint of late 2010s bedroom pop in it. 

Featured in the middle of their set, “The Dead Are Dumb” was my introduction to the band, and quite possibly shoegaze in general. It’s a somber song, with a main riff that sounds like looking out over a foggy lake in the Pacific Northwest. This song highlights singer Domenic Palermo’s chilling voice in the best way possible. 

Nothing kept it short, shouting out the amazing people that had already played, and that something even more amazing lay in wait. They closed their set by performing one of their biggest hits “Blue Line Baby,” much to the delight of the crowd. Midway through the song, the Grillo’s pickle mascot (the main sponsor of the event) began to saunter across the stage and make their way toward Palermo. Despite Slide Away being Nothing’s festival, it was immediately evident that the band had no idea this was going to happen. As the pickle took the guitar from Palermo’s hands, the crowd exploded in delight. Inflatable pickles flew through the air. Sometimes I do love the breath of fresh air and overall enthusiasm that is apparent in concerts that have a large “TikTok teenager” population in the crowd. I laughed as they chanted for the pickle to return for an encore. 

Hum by Sylvia Ansley

The air buzzed with anticipation. Some were anxious, others too busy pushing to the front to care. Soon the lights faded, and the stage was adorned with a massive projection of a slow, ever-crashing wave that seemed to ooze along the screen. Members Matt Talbott (vocals, guitar), Tim Lash (guitar), and Jeff Dimpsey (drums) walked onto the stage and wasted no time, launching straight into “Waves” off their most recent album, Inlet. Released in 2020, Inlet was a happy surprise. For the uninitiated, Hum was a ‘90s powerhouse until they disappeared in December 2000. Inlet features a level of heavy slowness that sets it apart from Hum’s other records. The majority of the songs featured on the album are seven minutes or longer. Sonically, the music feels matured, almost aged for a deeper, more intense flavor. A fan favorite from this album would be “Step Into You,” which had nearly the entire crowd banging their heads in unison to its driving riff. It is impossible to pick just one song that exemplifies Hum’s unreal lyrical talents, but this song is a damn good example. “Step Into You” poetically explores a first-person perspective on living through the fallout of a broken relationship, a theme that is pervasive throughout Hum’s music. 

“Wanting to see for myself again / It’s a race to the ground back to you again
I’m lost / Path is unclear and the air is thin
I’m over it / And everything here isn’t true”

(I sincerely wish I could fit the entire song within this article because cutting out any part of these lyrics felt like it was diminishing the story being told.)

Next, a step further back in time. To my delight, “Green To Me” off their album Downward Is Heaven made it into the setlist. One of the reasons Hum stands out against the distortion-filled fuzz of the ‘90s alternative rock genre is their mastery of playing “in the pocket.” Every held note, extended pause, and lyric is delivered in a synchronous way that is nothing short of divinely ordained. As a band they are tight, locked in, dialed in, with a level of coordination between all of the elements of their music that truly sets them apart. 

Going further back still, the show’s final three songs were from their major label debut and most famous album, You’d Prefer An Astronaut. Released in 1995, You’d Prefer An Astronaut is truly a no-skips album that everyone should listen to all the way through (preferably in order) at least once. Somewhere through “Why I Like The Robins,” I just couldn’t take it anymore. Tears of overwhelming emotion streamed down my face for the entire rest of the show. A quick encore led into their two heavy hitters, “Stars” and “I Hate It Too.” Both of these songs are truly unforgettable. The two tracks are structurally similar, but distinguished by very different overall tones. They start with humble, clean guitar riffs paired with Talbott’s bashful voice. Just when you’ve gotten comfortable appreciating the subtle genius in these core riffs, you’re blown backwards by a shockwave released from Talbott’s guitar. That first release of sonic energy in “Stars” may have been the most beautiful note I have ever heard played live. Watching the band hit every note through the arpeggiated bridge was like hearing it all again for the first time. Listening to the lyrics of “I Hate It Too” sung right up to the brink of tears only deepened my connection with this masterpiece of a heartbreak ballad. 

“If we break off gently in slow motion / Spinning outward into space
My hand, always firm and gently at the wheel / I need you to share the view
Or it becomes a time for me to love myself / Like every other thing I do”

I can scarcely think of lyrics more heartbreaking than those of “I Hate It Too.” This song is not about some trivial argument. It’s about accepting that though life after love seems impossible, the only way through is forward. 

Both of these songs were performed with such force that it felt as if the roof might cave in. And if the roof didn’t cave in, the floor certainly was going to from the chaos that was breaking out all over the crowd. Crowdsurfers flew this way and that. Fans thrashed, danced, cried, kissed, and hugged strangers in ecstasy. I closed my eyes and wished to remember the moment forever. 

Hum makes music that sounds like nostalgia in the present. Their songs feel like trying to remember as much as possible of a moment you know is temporary. Like driving your car on the way to college for the first time. Or experiencing teenage love. Whatever you’re feeling, Hum’s unique brand of that oh-so-good, all-encompassing wall of fuzzy sound will be there for you. 

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Saturday, 5/30/26

Cryogeyser by Dylan Simmons

Cryogeyser is an LA-based band fronted by Shaun Marom, integrating elements of shoegaze and noise rock with ethereal dreampop vocals. Though they were the only set of the day lacking crowdsurfers, Cryogeyser’s melancholic tunes transfixed the crowd into a rhythmic swaying, providing a much-needed moment of reprieve for the sweaty moshers. I was similarly entranced by their set, immersed in a flurry of distorted guitars and some of my favorite on-stage visuals all weekend. 

Shaun Marom’s poignant vocals are what make their songs quite so emotionally cathartic, and they hit even harder in person. A highlight of the set was their hit song “Leach,” in which Marom sang the three different verses of the song’s outro, looping each verse on top of the one before it. This created a three-part counterpoint among the distinct melodies, as Marom sang each subsequent verse atop her own vocals echoed back to her. This same technique was used in the studio recording for “Leach,” but witnessing Marom’s use of texture and sonic effects live in person was truly impressive. Cryogeyser’s medley of distorted guitars, haunting vocals, and ample shoegaze-esque effects created an ambience of vivid immersion and emotional connection, a fleeting echo chamber of introspection, solemn chords, and heartfelt lyricism. 

As a longtime follower of Cryogeyser, I can confidently say that Marom (along with their band of talented friends and local musicians) sounds stronger than ever before, and their vocal and instrumental prowess make their discography truly excel in a live setting. I personally can’t wait for their return with more tunes and local shows, and I sincerely urge anyone to seize the opportunity to get immersed in their live show.

Ovlov by Dylan Simmons

After Cryogeyser, Ovlov raised the crowd’s energy as any great opener should. Ovlov is a shoegaze and indie rock band founded in Connecticut in 2009. Their discography boasts catchy tracks like “Strokes” influenced by indie and garage rock, while songs like “Where’s My Dini?” tap elements of noise rock and Title Fight-esque emo. Though still somewhat small, Ovlov is definitely a rising act to watch in the alternative scene, and for good reason. The band radiated a fun, almost boyish energy onstage, and their enjoyment was clearly infectious. As I shot their set from the photo pit, I narrowly dodged a stream of crowdsurfers, and hardly resisted the urge to headbang along myself. 

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In sum, Slide Away truly is “the festival that celebrates itself.” It’s a love letter to shoegaze as a genre, from pioneers of decades past up to its 2020s revival. It embraces the ambiguity of whatever the hell “shoegaze” even means anymore, demonstrated by the diversity of sounds encompassed in the festival’s lineups. It champions community: local scenes, alternative subcultures, and the independent bands and fans that make it all possible. Slide Away offered a wonderful weekend escape with some of the best live concert performances I’ve ever witnessed, energized by a crowd of music fanatics more than eager to mosh. Though this was just my first experience at a Slide Away festival, I already can’t wait for the next iteration(s) to come.