Walking into For Cords that night felt like stepping into a pop-punk time machine. The crowd was buzzing with a mix of nostalgia and caffeine-induced excitement, everyone ready to relive the glory days of early 2000s teen angst and sarcastic humor. When Bowling For Soup finally hit the stage, the room erupted. The first chords of “Girl All the Bad Guys Want” ripped through the speakers, and instantly the entire venue turned into a chaotic sing-along. Arms were flailing, voices were screaming, and somewhere in the back someone was clearly doing an interpretive dance involving a very questionable amount of air guitar. Jaret Reddick was all energy, bounding across the stage like a caffeinated cartoon character, and it was impossible not to get swept up in it. The crowd knew every word, every punchline, and I swear the high note in the chorus shattered at least one cellphone screen.
The momentum barely slowed as they launched into “High School Never Ends.” If the first song was a warm-up, this one was the full-blown nostalgia tsunami. The sarcastic lyrics hit harder live than on record—every ironic jab at jocks, cheerleaders, and popularity contests drew roaring laughter and cheers. People pointed fingers at each other during the verses, laughing like it was all some shared inside joke from twenty years ago. It wasn’t just a song; it was an entire social commentary class delivered through power chords and catchy choruses. Jaret paused mid-verse to interact with the audience, prompting a chorus of “that’s so true!” that could probably have been heard in the parking lot.
Next up was “Ohio (Come Back to Texas),” and the story-telling charm of the song really shined live. Bowling For Soup has always had this gift for turning slightly ridiculous, over-the-top narratives into something that feels intimate and hilarious. Watching the crowd bounce along while everyone sang the tale of longing and lost love made the absurdity hit just right. It’s the kind of song that makes you simultaneously laugh, sing, and slightly reflect on your own life choices—all in a three-minute pop-punk package.
The show then hit a moment of pure, infectiously positive energy with “Today Is Gonna Be a Great Day.” By this point, sweat was running down foreheads, high fives were being exchanged with complete strangers, and the audience was bouncing like it was a trampoline park. The song’s relentlessly optimistic message, combined with Bowling For Soup’s upbeat instrumentation, created a communal sense of joy that was impossible to resist. Even the people who had been standing quietly in the back found themselves clapping, singing, or at least air-drumming along.
Things got a little bittersweet with “Almost.” There’s a layer of wistfulness in this song that you feel more in a live setting because everyone’s singing along like they’re recalling their own awkward teenage moments. The band timed every punchline perfectly, letting the audience laugh at the absurdity before smashing us back into the chorus. The mix of humor and sincerity is what makes Bowling For Soup so special live—they can make you laugh until your face hurts, then hit you with a moment of real nostalgia.
Of course, no Bowling For Soup show would be complete without “Punk Rock 101.” This is basically an instruction manual for high-energy audience participation. The crowd went wild, jumping, fist-pumping, and chanting along as if being taught by a pop-punk gym teacher. The timing of the guitar riffs, the drums, and Jaret’s comedic pauses all combined to create the feeling that everyone in the room was complicit in some ridiculous, joyful conspiracy. Mid-song, I noticed a guy in a sombrero doing a dramatic slow-motion hair flip, which may have been the highlight of the night.
“Turbulence” followed, and it was exactly what it sounds like—pure controlled chaos. The track hits harder live than on the recording, and the audience responded accordingly. The lyrics are a little dark, a little sarcastic, and perfectly punctuated by explosive instrumental breaks. The crowd seemed to feed off the energy, yelling, laughing, and headbanging in perfect unison. Bowling For Soup excels at this mix of musical tightness and comedic timing; every riff, every pause, every shout-out lands like it was choreographed for maximum chaos and fun.
Then came the first cover of the night, “Stacy’s Mom” by Fountains of Wayne, and the crowd lost their minds. It’s a song that’s already absurdly fun on record, but live, with Jaret’s playful delivery and the band leaning fully into the ridiculousness, it became a full-on party anthem. Everyone was singing, pointing at each other, and laughing like they were in some secret 2000s pop-punk cult. The humor wasn’t just in the lyrics—it was in the performance itself, the little winks, the comedic timing, the way the drummer threw in a ridiculous fill just to make us laugh.
Finally, they wrapped the night with “1985”—the ultimate sing-along closer. By this point, the energy in the room was at its absolute peak. Everyone knew every word. The shout-outs, the references, the hyper-specific nostalgia in the lyrics—it all landed perfectly. Jaret even encouraged people to add their own improvised lines during the bridge, which resulted in a series of hilarious, half-remembered pop culture quotes that probably shouldn’t have made it out loud. The crowd ate it up, singing, laughing, and bouncing as if the clock had reset twenty years. It was the perfect ending to a night where the past collided gloriously with the present.
By the time the final chords rang out and the applause started to die down, it was clear that Bowling For Soup had done more than play songs—they’d created an experience. They’re a band that thrives on nostalgia, humor, and crowd interaction, and at For Cords, every element of that magic was on full display. From the sarcastic lyrics to the playful covers, every song felt like part of a shared joke with everyone in the room.
Setlist Recap:
-
Girl All the Bad Guys Want
-
High School Never Ends
-
Ohio (Come Back to Texas)
-
Today Is Gonna Be a Great Day
-
Almost
-
Punk Rock 101
-
Turbulence
-
Stacy’s Mom (Fountains of Wayne cover)
-
1985 (SR‐71 cover)
The night was a perfect storm of laughter, nostalgia, and high-energy pop-punk, a reminder that Bowling For Soup is a master at turning their catalog into an immersive, hilariously fun experience. If you ever get the chance to see them live, expect to laugh, sing, and maybe even cry a little at how perfectly they capture the absurdity and joy of growing up with pop-punk as your soundtrack.