There’s something beautifully raw about a Joan Jett show. No smoke machines, no pyrotechnics, no elaborate stage choreography — just a guitar, a sneer, and decades of defiant rock ’n’ roll grit. On a humid Las Vegas night at the House of Blues, Joan Jett & The Blackhearts delivered a blistering, no-nonsense set that proved punk’s heartbeat is still pounding strong in 2025. It was part nostalgia trip, part manifesto, and entirely electric.
A Riot Grrrl Before the Phrase Existed
Jett walked onstage in her trademark black leather, guitar slung low, hair tousled like she’d just come out of a street fight and won. The crowd, a mix of longtime Runaways fans, Gen X lifers, and a surprising number of twenty-somethings decked out in retro tour tees, erupted as she struck the opening chords of “Victim of Circumstance.” Right away, that snarl and swagger — the signature Jett blend of attitude and melody — were front and center.
Her voice, still tough as steel but weathered in all the right ways, sliced through the air as if she had something to prove, even though she doesn’t. The Blackhearts were in top form: Dougie Needles’ guitar tone sharp and biting, Kenny Laguna’s keys subtle but essential, and drummer Michael McDermott pounding out that no-frills backbeat that’s as much a part of Jett’s identity as her leather jacket.
Without missing a beat, she roared into “Cherry Bomb,” that timeless Runaways anthem that still sounds like teenage rebellion bottled and shaken. The audience screamed along, fists raised — the chorus of “Hello world, I’m your wild girl” echoing through the House of Blues like a war cry from 1976 that’s lost none of its bite.
Rock ’n’ Roll Without Apology
From there, Jett pivoted into “Do You Wanna Touch Me (Oh Yeah),” a song that, in her hands, sheds its problematic origins and becomes something entirely hers — dirty, empowering, and drenched in energy. The crowd turned the chorus into a call-and-response, with Jett grinning as she barked out the final “Yeah!”
“Soulmates to Strangers” slowed things down slightly, giving the room a dose of Jett’s more reflective side. It’s one of her modern standouts — melodic, melancholy, and honest — and her delivery gave it emotional weight. There’s something powerful about hearing a punk icon sing about loss and change without losing any of her edge.
Next came “You Drive Me Wild,” another Runaways relic, and the crowd went nuts. Even after all these years, the song feels vibrant, like it could have been written yesterday. It’s the kind of track that reminds you Jett wasn’t just part of history — she made it.
Deep Cuts and New Sparks
One of the best surprises of the night came mid-set, when Jett dipped into less frequently played songs like “Frustrated,” “TMI,” and “Make It Back.” These aren’t radio staples, but they sounded right at home next to the hits. “TMI” in particular carried a sly modern punch — a punk rocker’s take on the age of oversharing, complete with crunchy riffs and wry humor.
“Fragile” and “Oh Woe Is Me” showed Jett’s ability to blend melody and toughness — emotional but never sentimental. You could feel the respect in the room; everyone there knew they were watching someone who didn’t just survive the music industry — she conquered it on her own terms.
“Good Music” and “Androgynous” (a Replacements cover) were the heart of the set — a double-shot of philosophy and pride. Jett introduced “Androgynous” by dedicating it “to anyone who’s ever been told they don’t fit in.” The crowd roared, and the song landed beautifully — an anthem of acceptance and authenticity. It’s clear that for Jett, these words still mean something.
The Home Stretch: A Hit Parade
As the set barreled toward its finale, Jett unleashed the hits one by one. “Love Is Pain” was tight and fierce, with Jett snarling through every lyric as if reliving old scars. Then came “Bad Reputation,” and the place absolutely exploded. It’s one of those songs that transcends decades — an anthem that could easily have been written yesterday about not giving a damn about anyone’s opinion.
By the time she hit “Everyday People,” the Sly & the Family Stone cover that Jett injects with garage rock adrenaline, the whole venue was moving. And when those unmistakable opening chords of “I Love Rock ’n’ Roll” rang out, every phone in the building shot into the air. It’s one of those songs that will never die — simple, perfect, and eternal. Jett let the crowd sing most of the chorus, stepping back with a smirk as she strummed and watched a thousand people shout her words back at her.
She followed it with “Crimson & Clover,” a cover that’s so completely hers it might as well be an original. The slow, sultry delivery and psychedelic shimmer filled the room, and her voice wrapped around the words like velvet and smoke. Then came “I Hate Myself for Loving You,” which hit like a sledgehammer. Jett tore through it with a ferocity that would make most hard rock singers jealous, her guitar tone thick and mean.
The crowd chanted her name for the encore before she even left the stage.
Stripped-Down Encore, Pure Emotion
When Jett returned, the energy shifted. She came out with an acoustic guitar, bathed in a softer light, and introduced the encore by saying, “Let’s bring it down a little — just for a bit.”
She started with “You Don’t Know What You’ve Got,” a rare gem from her catalog, stripped bare and haunting. The acoustic setting gave her voice a raw intimacy, the lyrics hitting harder without distortion to hide behind. Then came “Whiskey Goes Good,” a newer song that blended humor and heartache — classic Jett through and through.
The moment she launched into “Coney Island Whitefish,” the crowd howled. Acoustic or not, it carried that punk snark and cheeky attitude that made the early records so much fun. And to close, she offered an acoustic reprise of “Cherry Bomb,” turning that teenage anthem into something almost tender — reflective, but no less powerful. It was the sound of an artist looking back on her legacy and finding joy in it.
As she finished, she smiled wide, strummed the final chord, and said simply, “Thanks, Vegas. Keep it dirty, keep it real.” The applause was thunderous.
Joan Jett’s Enduring Legacy
There are rock stars who age gracefully, and then there’s Joan Jett — who doesn’t seem to age at all. She’s still the embodiment of everything that rock music was meant to be: rebellious, inclusive, fun, and ferociously real. Her band remains airtight, her voice still commands every inch of the stage, and her catalog continues to prove why she was one of the few punk rockers to truly break into the mainstream without ever selling out.
This show wasn’t just a trip down memory lane. It was a living, breathing reminder of why Joan Jett matters — not just to women in rock, but to anyone who’s ever felt like they had to fight to be heard. Watching her play “Bad Reputation” in 2025, surrounded by fans spanning multiple generations, it was clear that the song’s spirit has aged better than any of her peers’ glossy reinventions. She doesn’t need to evolve into something else — she is rock ’n’ roll.
Her acoustic encore underscored that point perfectly. Beneath the distortion and attitude, Jett’s songs are remarkably resilient — built on melody and heart, not just rebellion. That’s why she’s still selling out shows, still commanding crowds, and still influencing younger artists who might not even realize how much of her DNA they’ve inherited.
At 65, she remains one of the last true believers in the gospel of loud guitars and middle fingers to conformity. Watching her rip through “I Love Rock ’n’ Roll” or “Crimson & Clover” live, you get the feeling you’re seeing not just a concert, but a celebration of the survival of rock itself.
Final Thoughts
The House of Blues was the perfect venue — intimate enough to feel every chord vibrate through the floor, yet packed tight enough to create that communal energy only live music can deliver. The sound mix was clean, the lighting subtle, and the setlist struck the perfect balance between old classics, deep cuts, and fresh energy.
By the end of the night, you could feel the audience buzzing — not just from nostalgia, but from genuine admiration. Jett didn’t just revisit her past; she reaffirmed it. Every note, every sneer, every riff was a declaration that rock isn’t about youth or image — it’s about authenticity.
Setlist:
Victim of Circumstance
Cherry Bomb (The Runaways cover)
Do You Wanna Touch Me (Oh Yeah) (Gary Glitter cover)
Soulmates to Strangers
You Drive Me Wild (The Runaways cover)
Frustrated
TMI
Make It Back
Fragile
Oh Woe Is Me
Good Music
Androgynous (The Replacements cover)
Love Is Pain
Bad Reputation
Everyday People (Sly & the Family Stone cover)
I Love Rock ’n’ Roll (The Arrows cover)
Crimson & Clover (Tommy James & the Shondells cover)
I Hate Myself for Loving You
Encore:
You Don’t Know What You’ve Got (Acoustic)
Whiskey Goes Good (Acoustic)
Coney Island Whitefish (Acoustic)
Cherry Bomb (The Runaways cover, Acoustic)
Joan Jett left the stage to a standing ovation, her guitar still humming as the lights dimmed. For ninety minutes, she turned back the clock and proved once again that attitude, honesty, and a great riff will never go out of style.
Grade: A