Morrissey
The Smiths' voice, complicated as ever — when he shows, nothing else sounds like it, and the songbook remains untouchable.
New wave, post-punk and goth lined up on the sand for one November Saturday — Morrissey and the Pumpkins over a bill deep in Buzzcocks, Soft Cell and Gary Numan.
Darker Waves is a single Saturday on Huntington State Beach dedicated almost entirely to the 1980s — new wave, post-punk, goth and synth-pop, played on the sand as the sun goes down. Morrissey and The Smashing Pumpkins headline. Beneath them sit Simple Minds, Bad Religion, Adam Ant, The Psychedelic Furs and Soft Cell, which is a fair summary of the whole proposition.
The depth is what makes it work: The Damned, Gary Numan, Buzzcocks, Circle Jerks, Modern English, Missing Persons, The Motels, Marky Ramone and Mariachi El Bronx all appear, and the bottom of the bill leans contemporary darkwave — Cold Cave, TR/ST, Prayers, RIKI, Choir Boy and Twin Tribes-adjacent newer acts. One day, one beach, thirty-nine bands.
Expect punk, new-wave, synth-pop and alt-rock across 39 acts.
Saturday, November 14, 2026 — a single day.
Huntington State Beach in Huntington Beach, California.
Morrissey and The Smashing Pumpkins.
39 acts across one day.
Almost entirely 80s and 90s new wave, post-punk, goth and synth-pop, plus a contemporary darkwave undercard.
Type a few bands you already love into the search at the top of this page and you'll get ranked matches from this lineup, with reasons.
Lollapalooza lineup →Hopscotch lineup →The Fest lineup →Rebellion lineup →III Points lineup →Lost Lands lineup →Louder Than Life lineup →All Points East lineup →Aftershock lineup →End of the Road lineup →ARC lineup →Warped Tour Orlando lineup →Austin City Limits lineup →Reading & Leeds lineup →EDC Orlando lineup →Bourbon & Beyond lineup →Riot Fest lineup →Outside Lands lineup →Green Man lineup →HARD Summer lineup →Osheaga lineup →Bass Canyon lineup →Hulaween lineup →Honcho Campout lineup →Portola lineup →Furnace Fest lineup →Shaky Knees lineup →Sick New World Texas lineup →Hinterland lineup →All Things Go DMV lineup →Raleigh Wide Open lineup →Oceans Calling lineup →Bumbershoot lineup →Ohana lineup →Sea.Hear.Now lineup →Iron Blossom lineup →All Things Go NYC lineup →
Going to Darker Waves 2026? Get tickets ↗
The Smiths' voice, complicated as ever — when he shows, nothing else sounds like it, and the songbook remains untouchable.
Chicago's alt-rock monument — Mellon Collie-scale guitars at home in Grant Park, Corgan drama at full wingspan.
Glasgow art-rockers who grew into stadium new wave without ever quite losing the early strangeness — 'Don't You (Forget About Me)' guaranteed.
Forty-plus years of polysyllabic melodic punk — three-part harmonies over an unwavering political line, still the genre's reigning intellectuals.
Burundi drums, pirate costumes, and glam swagger — 'Stand and Deliver', 'Prince Charming', and the rest of a hits catalog that defined new wave's dress-up era at its most gleefully theatrical.
Richard Butler's sandpaper voice over saxophone-flecked post-punk that keeps finding new generations — 'Pretty in Pink' the eternal gateway.
Marc Almond's cabaret melodrama over Dave Ball's synths — sleaze and heartbreak in equal parts, 'Tainted Love' eternal.
First UK punk single, then a hard left into goth — Dave Vanian and Captain Sensible still at it, 'New Rose' to 'Eloise' in one set.
Welsh rock built on political fury and literary reference — and the best guitar solos in Britpop, three decades of conviction deep.
The man who made synthesisers sound alien, then spent his second act making them sound industrial — 'Cars' to Nine Inch Nails gravity, one career.
Fuzz-forward LA alt-rock with Brian Aubert's androgynous yelp cutting through the swirl — 'Lazy Eye' still the slow-burn standard.
Manchester punk that invented lovesick pop-punk two decades early — 'Ever Fallen in Love' and a singles run where every hook still lands perfect.
Baggy-era indie-dance with one inescapable single built on a sample and pure adolescent energy — 'Unbelievable' still does exactly what it says.
First-wave California hardcore played at absurd speed — Keith Morris's sneer is the whole genre in one voice, 'Group Sex' still a fourteen-minute masterclass.
Bowie-indebted glam played by Yorkshiremen in New York — one enormous single, plenty of swagger, 'In the Meantime' still soaring.
The Ramones' longest-serving drummer, keeping the two-minute blitz alive with a rotating cast — thirty-plus songs an hour, as the law requires.
The Bronx's punk band in full mariachi regalia — a bit that became a genuinely accomplished second career, now several albums deep.
Wesley Eisold's synth project — hardcore roots audible under the cold, enormous hooks, darkwave built by someone who learned intensity the loud way.
Robert Alfons's sepulchral synth-pop — a voice pitched somewhere between seduction and threat, club gloom at its most luxurious.

Britpop's most openly Smiths-shaped band, and a genuinely great one live — romantic, literate, and better than the revivalist tag ever allowed.
Self-coined 'cholo goth' — San Diego darkwave with barrio imagery and genuine menace, a genre of exactly one.
4AD post-punks with one immortal single — 'I Melt with You' forever, though the rest of the catalogue runs darker than you'd expect.
Martha Davis's smoky torch-song new wave — noir atmosphere on the radio, 'Only the Lonely' still aching.
Swedish new-wave revivalists fronted by Maja Ivarsson, who has never once given less than everything — 'Living in America' still a rocket.

Adam Klopp's falsetto over sax-flecked '80s pastiche that lands as sincere rather than kitsch — Salt Lake City synth-pop with a choirboy's ache, literally.
Dale Bozzio's helium delivery over musicians who'd played with Zappa — new wave with chops, 'Words' still doing the talking.
American deathrock's origin point — blasphemy, theatre, and guitars soaked in reverb, carrying the 'Only Theatre of Pain' legacy forward.

Niff Nawor's icy minimal-synth pop, delivered with an unmistakably European chill — neon romance in monochrome.
