CONCERT REVIEW: THE OFFSPRING | BLOSSOM MUSIC CENTER

Last night’s Offspring show at Blossom Music Center was nothing short of a nostalgic, high-energy celebration — and also a reminder of how deeply this band has threaded itself into the soundtrack of my life. Before the first chord even struck, a remote-controlled blimp drifted under the pavilion roof — a goofy, surreal little herald that this wouldn’t be a conventional evening.

At exactly 9:00 PM, the band launched into “Come Out and Play” from their seminal ’Smash’ album, and from there, they never let up. Opening with that song felt like a powerful callback to their roots — and what a rush it was to be standing there, decades later, singing along to one of the first Offspring songs that made me fall in love with them.

The set was anchored in the classics, with five songs from ’Smash’ and four from ’Americana’, but they weren’t content to just coast on nostalgia. Mid-set, they paid tribute to the recently passed Ozzy Osbourne, delivering a heavy and heartfelt mash-up of Black Sabbath’s “Electronic Funeral / Paranoid” and Ozzy’s signature “Crazy Train.” It was raw, respectful, and totally unexpected — and it worked.

They followed that with two more covers: the eerie, classical strain of “In the Hall of the Mountain King” and a raucous Ramones staple, “I Want to Be Sedated.” The juxtaposition of styles — from metal to punk to classical — showcased just how confident The Offspring are in their place as legacy rockers now.

But they didn’t ignore newer material: their recent single “Looking Out for #1” and “Make It All Right” (which hit #1 in 2024) from their ’SUPERCHARGED’ album were definite set highlights. Hearing those songs live felt earned — not just a check-the-box commitment to new music, but real moments of connection.

And then came an absolutely killer drum solo by Brandon Pertzborn, who’s now holding down the kit in place of Pete Parada. The solo was thunderous, precise, and a clear showcase of his own chops, and it built seamlessly into a four-song crash of anthems: “Gone Away,” “Why Don’t You Get a Job?,” “Pretty Fly (for a White Guy),” and “The Kids Aren’t Alright.” That sequence hit like a wave, and by the time “Pretty Fly” rolled around, the crowd was singing along as loudly as I was — which, for me, was deeply personal. “Pretty Fly” was one of the first Offspring songs I remember hearing on the radio, and it led me to dive headfirst into their earlier catalog. My teenage self (who lied to his parents and braved downtown Cleveland at age 16 to catch an early show) would’ve been giddy.

For the encore, they came back strong with “You’re Gonna Go Far, Kid” and closed the night by quite literally “bringing the pavilion roof down” with “Self Esteem.” Then, in a delightfully absurd moment, the band exited to a recording of Neil Diamond’s “Sweet Caroline” — a tongue-in-cheek testament to their irreverent spirit.

Watching The Offspring now — well into their decades-long career — you see a band that’s aged gracefully and knows exactly who they are. Yes, Holland and Noodles (and company) look a little silly singing about teenage angst and surf chick pick-ups, but isn’t that part of the charm? They’ve fully embraced their status as classic rock icons, not denying their punk roots but also not pretending they’re still young rebels in a garage.

I couldn’t help but think about what guitarist Noodles said in his recent interview with CleveRock.com:

“We kind of know certain songs we have to play … We have to play ‘Pretty Fly … Self Esteem … The Kids Aren’t Alright’ … We love playing those.”
And on making new music:

“We love going out and playing live … but so is the other side of that coin, going into the studio and trying to create new music … Dexter … is always trying to write a song or two that are better than anything he’s ever done before … I’m the babbling idiot giving the thumbs up or thumbs down, and occasionally … some guitar to it.”

That honesty and humility shine through on stage — this isn’t a nostalgia act just cashing in, but a band still striving, still making things that matter to them and to us.

Also worth noting: frontman Dexter Holland, whom I’ve long admired not only as a songwriter but as a scholar, holds a Ph.D. in molecular biology.

As one of my all-time favorite bands and a huge part of my formative years, this concert felt like coming full circle. The Offspring were one of the first big concerts I ever went to — I lied to my parents, I was terrified driving into Cleveland at 16, and “Pretty Fly (for a White Guy)” became my personal anthem. Hearing that song live last night, decades later, was more than just a thrill — it was a reminder of who I was then, who I’ve become, and how their music has been the constant thread.

New Found Glory kicked things off with an energetic, full-throttle romp through the pavilion. Highlights included “All Downhill From Here,” “Hit or Miss,” and closing with “My Friends Over You.” They were the perfect choice to open — youthful, punchy, and completely in their element.

Jimmy Eat World followed with a tight, emotional set. They sounded as good as ever, but I couldn’t help feeling a twinge of disappointment: they left key earlier songs off the setlist. As someone who first saw them open for Weezer in Cleveland in 2001 (yes — I then went home and, somewhat shamefully, pirate-loaded their music), I was hoping for a deeper dive into their catalog. That night in 2001 remains one of my favorite concerts to this day, and I’d have loved to relive it a little through their set last night.

The Offspring’s show at Blossom was equal parts celebration, catharsis, and irreverent fun. They honored their past, embraced their present, and looked ahead without turning their back on the fans who’ve been there from the start.