There’s something about a Bowling For Soup show that feels like catching up with your funniest old friends — the kind who never really grew up, still crack the same jokes, and somehow still make you laugh every single time. At the Hard Rock Live in Orlando, Florida, in 2024, that sense of eternal adolescence was alive and thriving. The band may have been around for nearly three decades, but their energy, humor, and charisma could have fooled you into thinking they were still the same scrappy Texas pop-punkers who broke out in the early 2000s. This night wasn’t about nostalgia for its own sake — it was about connection, community, and pure, unfiltered fun.
The crowd that packed the Hard Rock Live was a perfect cross-section of pop-punk generations: people who grew up on Drunk Enough to Dance stood shoulder-to-shoulder with teens who first heard “1985” on a Spotify playlist. And right from the opening moments, Bowling For Soup made sure every single person in the room knew exactly what kind of night they were in for — one full of laughter, singalongs, and that distinctive tongue-in-cheek swagger that has always set them apart.
Setlist:
BFFF
Almost
Ohio (Come Back to Texas)
Two-Seater
The Bitch Song
Today Is Gonna Be a Great Day
The Last Rock Show
Punk Rock 101
Turbulence
High School Never Ends
Emily
Girl All the Bad Guys Want
Encore:
Life After Lisa
Intergalactic (Beastie Boys cover)
Creep (Radiohead snippet)
1985
The Ultimate Pop-Punk Icebreaker
The night kicked off with “BFFF,” a newer track that immediately established the tone — loud, loose, and loaded with personality. Jarret Reddick strolled onto the stage with his trademark grin, greeting the Orlando crowd with a booming, “We’re your new favorite band, even if you already knew that!” The song itself might not be a classic yet, but it fit perfectly as an opener, serving as a love letter to the band’s loyal fans and a mission statement for the night.
“Almost” followed, and suddenly everyone was back in 2004, screaming every word like they were still in high school. The band’s sound — tight but never too polished — gave the song a crunchy, energetic edge. Chris Burney, ever the comic foil, spun his guitar around between riffs, mugging for the front row while bassist Rob Felicetti shouted backup vocals with gleeful abandon.
The third song of the night, “Ohio (Come Back to Texas),” came with one of those classic Bowling For Soup moments you can’t script. Reddick invited a young fan from Ohio onto the stage, joking, “You left Texas — we’re still mad about it, but maybe you can redeem yourself.” The kid absolutely nailed the singalong, and by the end, the whole crowd was cheering them on like a hometown hero. It was the kind of heartwarming, goofy moment that reminded everyone that a Bowling For Soup show is as much about community as it is about comedy.
A Band That’s Never Taken Itself Too Seriously
“Two-Seater” and “The Bitch Song” came next, and both hit with that signature BFS combination of humor and heart. “The Bitch Song,” the band’s first real breakout hit back in 2000, sounded as fresh as ever. The crowd sang along so loudly that Reddick barely needed to sing the chorus himself. Between songs, the band’s banter took center stage — jokes about aging, hangovers, and the fact that most of their fans now bring their kids to the shows.
Then came one of the night’s most fun curveballs: “Today Is Gonna Be a Great Day,” better known as the Phineas and Ferb theme song. Reddick introduced it with a grin, saying, “We’re gonna play the shorter version — because let’s face it, you already know the words.” Even though it was brief, it was one of the biggest singalongs of the night, proof that the band’s reach has stretched across generations in a way few pop-punk acts can claim.
The Heart Beneath the Humor
“The Last Rock Show” and “Punk Rock 101” followed, and both brought that quintessential Bowling For Soup energy — big riffs, big smiles, and a whole lot of nostalgia. But midway through “Punk Rock 101,” the show turned into pure comedy gold. The band stopped the song toward the end for a full-on photo op with the crowd before launching into an impromptu dance break set to Rick Astley’s “Never Gonna Give You Up.” The crowd lost it. It was equal parts hilarious and self-aware — a perfect encapsulation of the band’s humor and stage presence.
But the night wasn’t all jokes. When Reddick introduced “Turbulence,” the tone shifted. He took a moment to talk about Punk Rock Saves Lives, a charity that focuses on community health and mental wellness. The song itself, one of the band’s more earnest tracks, hit harder than expected. Reddick’s voice carried a sincerity that silenced the chatter, reminding everyone that behind the sarcasm and humor is a band that genuinely cares.
Nostalgia Without Stagnation
From there, the band kicked back into full throttle with “High School Never Ends,” one of their most recognizable songs and still one of the most biting bits of pop-punk satire ever written. The crowd was electric, fists pumping as everyone shouted along to lines about reality TV and celebrity culture that feel just as relevant today as they did when the song was released.
“Emily” followed, giving the show a slightly moodier edge. It’s one of those deeper cuts that longtime fans cling to — melodic, heartfelt, and just the right amount of melancholy. The live version gave it new life, with Felicetti’s bassline adding a rich undertone and drummer Gary Wiseman providing a tight, crisp groove.
And then came the one-two punch that everyone was waiting for: “Girl All the Bad Guys Want” and “1985.”
Before launching into “Girl All the Bad Guys Want,” Reddick dedicated the song to WWE superstar Alexa Bliss, who was in the crowd that night. The place erupted — Bliss, a self-proclaimed BFS fan, waved from her section, and it added a bit of celebrity magic to the mix. The band played the song like they’d written it yesterday — all swagger and hooks, a time capsule from the early 2000s that still absolutely holds up.
Encore Madness: Covers and Surprises
After leaving the stage to thunderous applause, the band returned for an encore that perfectly encapsulated everything that makes Bowling For Soup shows so special — unpredictability, humor, and genuine fan appreciation.
They kicked off the encore with “Life After Lisa,” a song they hadn’t played in years but decided to resurrect for a fan in the audience who had requested it earlier. Reddick joked, “We don’t usually take requests, but when someone asks for a deep cut like that, you gotta respect it.” The performance was heartfelt and raw, a reminder of the band’s deep catalog and ability to mix humor with emotional depth.
Then came one of the wildest moments of the night: a nearly full cover of the Beastie Boys’ “Intergalactic.” Felicetti took over lead vocals, and it was shockingly good. The band leaned into it hard — distorted bass, pounding drums, and Burney bouncing around the stage with infectious energy. You could tell they were having just as much fun as the crowd.
And then, out of nowhere, they played a snippet of Radiohead’s “Creep” because, as Reddick put it, “Some guy in the front row had it written on his shirt, and we’re easily influenced.” The crowd howled with laughter, and for about 45 seconds, the room was united in one of the strangest singalongs you could imagine.
Finally, the night ended with “1985.” There’s really no other way a Bowling For Soup show could close. From the first chords, the entire venue turned into one massive karaoke session. Reddick barely sang the chorus because the crowd was so loud. It was pure joy — nostalgia without irony, fun without pretense. By the time the final chord rang out, confetti cannons fired, and the band waved their goodbyes, the audience looked genuinely exhausted from smiling and singing.
A Band That Still Gets It
Walking out of the Hard Rock Live, it was hard not to be struck by just how consistent Bowling For Soup has been over the years. Sure, their songs are goofy and their stage banter could double as a comedy routine, but beneath it all is a band that truly understands what it means to put on a great show. They’ve never tried to reinvent themselves into something they’re not — they’ve just doubled down on being the most lovable, relatable, and downright entertaining pop-punk band out there.
In an era when so many bands from the early 2000s are leaning entirely on nostalgia tours, Bowling For Soup feels different. They still release new music, still play deep cuts, and still seem genuinely thrilled to be doing it. Their energy isn’t rehearsed — it’s real. You can tell they love being up there, feeding off the crowd’s energy and giving it right back.
That’s why a Bowling For Soup show never feels stale. It’s a living, breathing party. You might walk in expecting a comedy act with guitars, but by the end, you realize you’ve witnessed something much more — a celebration of friendship, community, and the simple, enduring power of rock and roll fun.
Final Thoughts
Bowling For Soup at Hard Rock Live in 2024 was everything you could hope for from a band that’s built its career on authenticity and laughter. It was irreverent, heartfelt, unpredictable, and completely infectious. From “Almost” to “1985,” the band delivered a masterclass in how to keep a crowd engaged — not just by playing the hits, but by creating moments that felt entirely in the moment.
Whether they were riffing on each other, playing ridiculous covers, or connecting sincerely through songs like “Turbulence,” Bowling For Soup proved that pop-punk doesn’t have to grow up to stay relevant — it just has to keep being honest.
For a band that once joked about being the “last rock show,” this performance was anything but the end. It was a reaffirmation of everything that makes them great — humor, heart, and a refusal to take themselves too seriously.
Grade: A-