Under the bright desert sun and the glow of Las Vegas lights, tens of thousands of elder emos laced up their Chucks and made their way to the Las Vegas Fairgrounds for what would be the fourth installment of every emo millennial’s favorite festival: When We Were Young. Spanning October 18 and 19, the weekend brought together fans ready to scream along to the songs that defined their adolescence and celebrate the culture that shaped them. It’s the kind of place where old friendships are renewed, strangers become friends over shared lyrics, and the energy in the crowd reminds everyone why emo has lasted for decades, proving to moms and dads everywhere that it “was never a phase!” With a lineup full of over 50 bands including nostalgic favorites and a few exciting new acts, When We Were Young 2025 struck the perfect balance between looking back and moving forward. Revamped merch, upgraded food and beverage options, and thoughtful accessibility measures made the festival feel bigger, smoother, and more welcoming and inclusive than ever. Had I not been a victim of the wind during the original installment of this festival, this weekend would have marked my fourth trip down memory lane, but I can say without a doubt, this was my most memorable experience yet. From the music to the community to the little touches that made the weekend run so smoothly, it was a reminder that the emo spirit hasn’t faded; it’s just grown up a little.

When We Were Young kicked the festivities off early, offering a number of side shows and events that gave fans a chance to dive into the nostalgia before the main gates even opened, including Emo Night Brooklyn and headline performances by Taking Back Sunday, Ice Nine Kills, Story Of The Year, and William Ryan Key of Yellow Card. All Time Low also played a free live show on Fremont Street celebrating the release of their new album, Everyone’s Talking. I found myself at Brooklyn Bowl Las Vegas catching an absolutely fire lineup featuring Story Of The Year, The Cab, The Rocket Summer, and Her Leather Jacket, the latter of which I was not familiar with and blew me away with their performance. Every act on the bill brought the energy, making for an unforgettable evening of music that perfectly set the tone for the festival ahead.

For those who made the trek to Vegas days in advance, When We Were Young also offered a merch pop-up, allowing fans to purchase festival merch early and avoid the lines the day of fest. These popups began on Thursday and occurred daily through Sunday. If you’re looking for gear to commemorate your weekend, I highly recommend taking advantage of these opportunities to avoid wasting precious time in line that could be spent rocking out to your favorite bands. This year, artist merch was also offered at the pop up, something that was not offered previously and was one of fans’ biggest complaints. One thing that this fest does really well is take and apply feedback from the fans to improve upon their operations. 

Whether you’re walking, taking a rideshare, parking onsite, hopping on a bus, or even arriving by limousine, there are transportation options to suit every festival-goer. I’ve taken the Las Vegas monorail from the Strip each year and found it to be an easy, convenient, and affordable way to reach the Fairgrounds. That said, if you’re boarding beyond the first 1-2 stops, be prepared to wait for multiple monorails before finding a sliver of space to squeeze into. For the first few hours of the day, it’s guaranteed that the rides headed toward the festival will be packed wall to wall, though thankfully, the trip is short enough that you’ll survive the close quarters with fellow festival-goers before spilling out into the desert sun. 

Although this year’s monorail trip came with some technical difficulties, after finally being released from our monorail car, I made the trek from the Sahara down toward the festival entrance, arriving at 11AM. Although it was advertised that doors would open at 11AM, when I arrived, there were minimal to no lines, and I swiftly moved through security. The staff were thorough in their inspections to ensure safety, but also quick, making for a smooth entry into the festival grounds. 

Upon entering the grounds, I was greeted by WWWY’s infamous archway and a neon pink lawn, a must-stop photo op for anyone attending the festival, practically a rite of passage for fans looking to capture that perfect Instagram shot and commemorate their weekend. On each side of the arch, cubes decked out with the album covers of the weekend’s artists offer another can’t-miss photo op. Festival fashion was its own spectacle, a sea of black outfits and vintage band tees paired with well-worn Chucks and Vans, while others leaned fully into the theatrics, donning burlesque and steampunk-inspired looks in anticipation of Panic! At The Disco’s A Fever You Can’t Sweat Out performance.

The festival grounds were lined with a plethora of food and beverage options. With over 70 food vendors to choose from, there was a little something for everyone, including those with special dietary needs and preferences. This year’s offerings included spots like Tacotarian, Wahlburgers, Shake Shack, Island Noodles, and Hummus Bowls & Wraps. Given how many options there were, the lines were minimal and very manageable. The average meal and alcoholic beverage ran about 20 dollars which is pretty on par with festival pricing in general. There were also water refill stations available throughout the festival grounds to help prevent dehydration under the blazing sun. Refill stations were a bit of a hike from the main stages, but were otherwise conveniently located throughout the remainder of the festival grounds. Security was also great about ensuring that those camping out on the barricade had water. 

WWWY 2025 featured four stages: two main stages — the Pink Stage and 7-Eleven Stage — and two smaller stages — Ghost and Allianz. The smaller stages utilized a rotating setup, allowing one band to set up while another performed, minimizing downtime between sets. On the main stages, alternating sets between each stage kept the music flowing with barely a pause between performances. Hopping between the Pink and 7-Eleven stages and Ghost and Allianz stages was relatively easy, but prepare to put in steps when moving between Pink/7-Eleven and Ghost/Allianz and when planning out your schedules, make sure to plan for a 10-15 minute walk from Ghost/Allianz to the main stages and vice versa. With all that walking, I was thankful to see that there were ample shade and rest areas throughout the fairgrounds- much appreciated by elder emos nursing back and foot pain and those seeking reprieve from the sun. 

I made my way toward the Allianz stage to catch the Arm’s Length set to kick off my day. I was able to catch the end of Her Leather Jacket, which, despite being the first set of the day, drew a sizable crowd and was just as electric as the night before. Canadian emo/indie rock band Arm’s Length took the stage shortly after. Relative newcomers to the scene and WWWY newbies, Arm’s Length fit the bill perfectly, delivering a setlist mainly consisting of tracks from There’s A Whole World Out There, which was released earlier this year. I caught most of their set before taking off toward the Ghost stage, experiencing my first scheduling conflict of the day. I was excited to see British rockers Holding Absence, take the Allianz stage, but ultimately decided to skip their performance, opting instead to see my all time favorite band, The Rocket Summer. Other than Holding Absence frontman Lucas Woodland, the entire crew was stuck overseas with visa issues. Boundaries saved the day, backing Woodland so that the show could go on, and word on the street was that they gave an epic performance that I was bummed to have missed.

I was able to catch all of The Red Jumpsuit Apparatus’ set, which was a highlight of the festival for many. After their overwhelmingly positive reception in their debut performance with the band at Vans Warped Tour this summer, unclean vocalist K Enagonio was officially welcomed into the band, and they’ve since added a fierce new edge to their sound that I am loving. The band continues to use their platform for good, taking moments to spotlight LGBTQ+ rights, as well as displaying a “No Kings” flag, standing in solidarity with the protests happening that day. They closed out their set with fan favorite “Face Down,” a song that continues to resonate with fans just as deeply today as it did nearly two decades ago.

The addition of The Rocket Summer, the solo project of Bryce Avary, was a selling point for me this year. He is perfect for this bill, and his absence from previous years’ lineups was definitely felt — his infectious energy, anthemic hooks, and multi-instrumental talent fit the spirit of When We Were Young so naturally that it’s hard to believe he hasn’t been part of it all along. The crowd clearly agreed as his set drew a huge crowd, with fans spilling far beyond the stage’s edges. Avary fed off that energy, delivering a run of crowd-favorite anthems including “Brat Pack,” which he cleverly mashed up with The Killers’ “When We Were Young” as a nod to the festival. He kept the momentum going with powerful performances of “Do You Feel” and “So Much Love,” both met with heartfelt singalongs. Mid-set, Avary’s band stepped off stage, allowing him a moment to show just how versatile of a musician he is, building an entire loop jam from scratch, layering drums, keys, guitar, and vocals with effortless precision. He closed out his set with “So, In This Hour…,” which had the crowd chanting “Oh! Oh! Oh!” in unison as their threw their fists in the air. On day two, he took it even further, crowd surfing through the song and turning the moment into one of the festival’s most unforgettable highlights.

Following The Rocket Summer, I made my way over to the main stages to catch another festival favorite: Boys Like Girls. The band has become a staple of festival lineups, consistently landing among the day’s top performances for a huge portion of attendees. Leather-clad and casually smoking on stage, they exude a rock-and-roll confidence that adds to the excitement of their performance. They kicked off their set with “Love Drunk,” and followed with favorites like “BLOOD AND SUGAR,” “LANGUAGE,” “Thunder,” and “Two Is Better Than One,” that had the whole crowd signing along. To end their set, they instructed the crowd to take out their phones and record “The Great Escape.” Mid song, they demanded that all phones be put away, and then restarted the song so that the performance could fully be experienced by the crowd: present, singing, dancing, and completely immersed in the music. The set ended on a high note, with everyone grinning, singing, and just soaking in the moment together, still buzzing with energy as The Story So Far took the 7-Eleven Stage.

While waiting for Yellowcard to take the Pink Stage, I took some time to wander the grounds, checking out the installations and activations the fest had to offer. Scattered throughout the festival were nostalgic installations crafted from old VHS tapes, nostalgic toys like beanie babies, CDs, and vintage tech — each evoking memories of high school bedrooms and the first emo shows that shaped a generation. This year’s sponsor activations were particularly fun. 7-Eleven set up a dedicated hangout with free Slurpees, temporary tattoos, photo ops, and a relaxed spot to rest, while the When We Were Young High School offered a nostalgic walk through your old high school. Guests entered through a school bus, which led into a classroom complete with lockers plastered with concert flyers, a cafeteria serving “unhappy meals,” and costumed staff, including a teacher, student, and custodian, creating a fully immersive throwback experience. Nearby, Cafe Bustelo kept festival-goers energized with free coffee and a welcome air-conditioned space, while Ghost, Beatbox, and Slice also offered their own hangout areas, giving fans plenty of spots to relax, recharge, and soak in the festival atmosphere.

As a speech language pathologist by day, I pay close attention to accessibility, and I was impressed with the thoughtful measures taken by the fest to ensure that the festival experience was welcoming for all. Dedicated ADA viewing platforms were available at all stages offering clear sight lines, and the space at each appeared ample. Merch, food, and beverage stands were all located in paved areas, allowing for easier navigation for those using mobility aids. There was a dedicated space for charging mobility aids, and accessible restrooms were available all throughout the festival grounds. KultureCity partnered with WWWY to offer sensory bags, which included noise cancelling headphones, fidgets, and verbal cue cards to communicate needs, at no cost. There was also a dedicated sensory room on site which provided low lighting, air conditioning, comfortable seating, and tools for anyone feeling overstimulated and in need of a calm environment. American sign language interpreters were present for many of the performances throughout the day, and festival materials were available in large print and braille for those who needed it. It was clear that accessibility wasn’t an afterthought but a priority, and that made the event feel genuinely inclusive and welcoming for fans of all abilities.

Before heading back to the Ghost stage to catch WWWY veterans The Starting Line and The Maine, I made my way back to the Pink stage to relive the nostalgia of Yellowcard’s Ocean Avenue. Their stage was outfitted with a large VHS display and featured bursts of pyro, adding to the crowd’s excitement. Frontman William Ryan Key took a moment to address the crowd, sharing that he wasn’t sure about the band’s future when they went on hiatus in 2016, and giving a heartfelt thank you to the fans for breathing the life back into them. Because of the fan’s support, they have just had their first ever number one radio single, “Better Days,” the title track of their recently released album.  They closed their set with “Ocean Avenue,” sending the crowd into a massive singalong. Their energy lingering long after the set wrapped with fans buzzing as they anticipated what was to come for the Pink Stage- Knocked Loose, the self-proclaimed scariest band on the lineup, who would later give both fans and security a run for their money during a wild crowdsurfing competition that saw more than 30 people go over the barricade in a single song.

Surprise cameos have practically become a tradition at When We Were Young, and this year’s festival kept that spirit alive. Adam Lazzara of Taking Back Sunday popped up twice — first joining John Nolan during Straylight Run’s set, and later appearing with The Maine for a raucous rendition of “Loved You a Little” (with John O’Callaghan from The Maine attempting Lazzara’s signature mic swing and accidentally launching the microphone instead). blackbear made his long-awaited live debut of “Monsters” alongside All Time Low, while Simple Plan joined Avril Lavigne on night one for their song “Young & Dumb.” On night two, Sum 41’s Deryck Whibley teamed up with Avril for a high-energy take on “In Too Deep.” Elsewhere, Leah Voysey from “Terrifier 2” lent her vocals to Ice Nine Kills for “A Work of Art,” and Buddy Nielsen of Senses Fail jumped in with Story of the Year for “Until the Day I Die.”

Following The Used and Avril Lavigne, I was forced to make my most difficult decision of the day, one that many fans agonized over, and that was whether or not to head over to the Allianz Stage to catch Jack’s Mannequin’s set, or stick around for Blink-182’s performance. In the end, I made my way over to Allianz to witness Andrew McMahon and crew take fans through Everything In Transit, which just celebrated its 20th anniversary. They also threw in a performance of “Restless Dream,” which McMahon performed in the crowd, something he is known to do often. McMahon’s ability to connect with fans is second to none, and his stage presence remains magnetic — a reminder that an Andrew McMahon set is always a must-see.

I stuck around to watch Letlive., not really knowing what expect as they are a band I was not familiar with, and I left completely blown away. Their performance was pure chaos in the best possible way — explosive, unpredictable, and almost unhinged. The entire band radiated energy, but frontman Jason Butler took it to another level. Known for his wild stage antics, he lived up to the reputation: on night one, he hurled a metal trash can into the crowd, and on night two, he opened the set from within the audience, inciting a mosh pit, duct-taped a microphone to his face, and poured water all over the stage, sliding across it mid-song. It was raw, reckless, and wildly entertaining — easily one of the most intense performances of the weekend.

Panic! At The Disco hit the stage right at 10PM, and from the first notes, it was clear the wait had been worth it. The stage setup was reminiscent of an old theater, complete with deep red curtains and the band’s name glowing in lights overhead. From the moment they hit the stage, the production was massive, including bursts of pyro, cascading sparks, and fireworks that lit up the sky. Backed by a full string and horn section, Brendon Urie and the band launched straight into a front-to-back performance of A Fever You Can’t Sweat Out, an album that defined an era for so many in the crowd. Every lyric echoed back at full volume, with tens of thousands of voices belting along in perfect unison. It was a hometown show for Urie, who ended Panic! in 2023, and his return to the Las Vegas stage felt triumphant. His voice sounded stronger than ever, and his stage presence reminded everyone why he’s considered a showman. He looked genuinely happy to be back on that stage, and that joy was infectious. 

After wrapping up A Fever You Can’t Sweat Out, Urie kept the energy high with hits spanning Panic!’s catalog, including “Say Amen (Saturday Night)” (fittingly played on a Saturday night), “Death of a Bachelor,” “King of the Clouds,” “Vegas Lights,” and “High Hopes.” To end the night, Urie surprised the crowd by performing “I Write Sins Not Tragedies” yet again, this time bringing former drummer Spencer Smith to the stage, his first performance with the band since 2013, as a final round of fireworks and pyro lit up the desert sky, ending the night in a spectacular fashion. 

Getting out after the headliner always takes time — rideshares back up and monorails fill to capacity, but no one seemed to mind. It had been a long day under the desert sun, and no doubt, the elder emos were feeling every ache and pain that comes with hours of standing, walking, moshing, crowdsurfing, and dancing, but you would never know it from the smiles and laughter that came as they recapped the excitement of the day. One of the most special things about When We Were Young is the community it creates. Throughout the day, fans looked out for one another, quickly gaining the attention of security for anyone needing help, picking each other up in the pit, swapping friendship bracelets, and sharing memories of their old Warped Tour days and what the scene meant to them. That sense of connection, of shared nostalgia and mutual respect, is what makes this festival feel so unique compared to others. 

While the price point may feel steep for a single-day event, it’s hard to deny that When We Were Young delivers. With a lineup packed entirely with established, legacy acts, the value is there. Between the production quality, seamless logistics, and the genuine care shown for accessibility and fan experience, it’s clear that the team behind this festival knows exactly what they’re doing.

Walking out under the Vegas lights, you could feel it — that mix of exhaustion, joy, and nostalgia that only a day like this can bring. Everyone was grateful for the music that shaped them and for the community that still shows up for it decades later. When We Were Young continues to remind us that emo isn’t gone. It has evolved, and so have we. Hopefully, year five is already on the horizon.