Berth 46 in San Pedro was packed with a sold-out crowd on October 4 as thousands of fans filled the pier for Punk in the Park, the two-day celebration of punk rock and craft beer produced by Brew Ha Ha Productions. We were on hand for the first day of the event which delivered wall-to-wall music across three stages, seemingly unstoppable energy from fans of all ages, and a collection of punk bands that didn't disappoint.

Despite a minor controversy that surfaced months earlier on social media surrounding Brew Ha Ha Productions founder Cameron Collins and his $249 personal donation to Donald Trump’s campaign, the energy on the ground was anything but conservative. Online debates about Collins’s politics lingered in the background, but inside the gates, the message from the bands and the crowd was clear: “Fuck ICE, fuck Trump, fuck fascism.” Having personally known Cameron for nearly twenty-five years, our political viewpoints have never found much common ground. Despite his deep-rooted Christian and conservative values, as a leftist queer atheist I have never felt unsafe or denigrated around him in all the years I’ve known him. Collins told me, “I may have given Trump $249, but I have also given these punk bands more than nine million dollars over the years,” and added for clarity, “I don’t believe in all this stuff ICE is doing, that’s complete bullshit.” Several performers thanked him for his continued support, even as their sets doubled down on punk’s defiant political roots.

Stage Three opened the day with Terror Attack at 12:45 and they kick started that stage for an all day barrage of punk music. Inland Empire legends Voodoo Glow Skulls brought their blend of ska-punk, brass, and anarchy, while up-and-comers like Western Waste tore through fast, jagged sets that embodied the grit of Southern California’s underground punk movement. Even early in the day, the pits were moving and the crowd was shouting, middle fingers held high reminding everyone what punk is all about.

The second stage brought a string of standout performances. Grito, Jen Pop, Slaughterhouse, and Riverboat Gamblers each brought distinct energy, from Grito’s bilingual defiance to the Gamblers’ chaotic charm when the frontman’s daughter joined in for backing vocals. Later, Manic Hispanic, Adolescents, The Bronx, and Stiff Little Fingers kept the energy high. Manic Hispanic’s sharp humor landed perfectly with the crowd, while The Bronx blurred the line between performer and fan. When a fan was injured mid-set, the band stopped immediately to make sure they were safe, then invited “all the olds, over 30, over 40” to jump back into the pit. They did, proving punk doesn’t age out. Stiff Little Fingers closed the stage with veteran confidence, as vital as ever.

On the main stage, DFL, Left Alone, Dead to Me, and Agent Orange controlled the early afternoon with classic Southern California punk tones. Agent Orange’s surf-punk sounds paired nicely with the ocean air, and they reminded everyone why they remain a pillar of the scene. As the sun set, Street Dogs and Face to Face turned the waterfront into one massive singalong, with Mike McColgan dancing with the audience, and Face to Face bringing all the crowd surfers up to the front.

Then came Pennywise, greeted like hometown heroes. Their set was thunderous and more like a family reunion, with nearly a hundred friends and family gathered at the back of the stage and along the wings. When the last song hit, they flooded the stage, surrounding the band and did a massive sing-a-long for "Bro Hymn" that brought the crowd and the band into one big party that felt less like a concert and more like a family celebration. Bad Religion closed the night with their signature precision and intellect, Greg Graffin’s voice echoing through the night air as thousands of punks sang along to songs that have defined multiple generations. It was a performance that reminded everyone that punk endures because it questions everything, refuses control, and raises our voice.

The crowd itself reflected the full span of punk’s timeline. Small kids rode their parents’ shoulders, teenagers flung themselves into the pit for the first time, and fans in their forties and fifties crowd-surfed with the same defiance they had decades ago. During The Bronx’s set, when the band asked, “What do we do when someone falls?” the crowd shouted back, “Pick them up!” That call echoed across the venue, capturing the spirit that has kept punk alive for decades: a culture built on energy, empathy, and the shared understanding that no one gets left behind.

As the day ended and the festival attendees went to continue the party, or go home to recuperate for the next day of mayhem, the atmosphere in the air was thick with resistance, and a "Fuck You" attitude the system, and everyone that would that would try to control, and oppress. The Punk scene has always been a protected space for marginalized communities to rally together and fight back, and this day left no doubt that Punks Not Dead!